外文翻譯---神話傳說的數(shù)字時(shí)代

1、<p><b>　　外文翻譯：</b></p><p><b>　　神話傳說的數(shù)字時(shí)代</b></p><p>　　原文來源：This article was written for the book Tradigital Mythmaking, edited by Hannes Rall ofNanyang Technological

2、 University, Singapore & will be on the market in June 2009</p><p><b>　　譯文正文：</b></p><p>　　神話傳說一直在對過去50年有重大的影響。</p><p>　　在東西方文化相沖撞交融的今天，縱觀國外經(jīng)典動(dòng)漫，每個(gè)國家每個(gè)區(qū)域都在探索標(biāo)志性的地域文化

3、，都在關(guān)懷本民族的人文情感。西方和東方文化都有著顯著的差異，它或呈現(xiàn)出鮮明的地域風(fēng)情，或展現(xiàn)出經(jīng)典的本土文化，或流露出觸動(dòng)人內(nèi)心的感懷。正是這些差異性讓動(dòng)畫綻放出它的獨(dú)特魅力，它是一個(gè)復(fù)合體，一個(gè)集文化、功能及情感三種語言與一身的復(fù)合體。</p><p>　　動(dòng)畫的技巧隨著電影藝術(shù)的發(fā)展，早就不再局限于用線條描繪的一種方式而已了?，F(xiàn)在，動(dòng)畫已經(jīng)在多方面領(lǐng)域?qū)崿F(xiàn)應(yīng)用。Norman McLaren這位動(dòng)畫大師就說過：

4、動(dòng)畫不是“會(huì)動(dòng)的畫”的藝術(shù)，而是“畫出來的運(yùn)動(dòng)”的藝術(shù)。</p><p>　　動(dòng)畫看似一門小小的學(xué)科，在文化體現(xiàn)上確有著不可忽視的作用，它以獨(dú)特的方式傳遞著不同國家、地區(qū)、民族的文化。同樣又以自身的形象傳達(dá)著人類的進(jìn)步與文明。</p><p>　　在如今數(shù)字化時(shí)代，觀眾全神貫注地坐在有大屏幕的黑暗的劇院觀看動(dòng)畫。正是這些神話的英雄和魔鬼，動(dòng)畫讓他們復(fù)活，相互對立，剛才還在地面上，下一刻就在

5、空中以驚人的速度移動(dòng)，不畏危險(xiǎn)奮勇戰(zhàn)斗。這些神話人物是一名藝術(shù)家的全面創(chuàng)新，大放異彩！隨著3D眼鏡的誕生，觀眾被完全籠罩，伴隨著THX環(huán)繞聲。此外他們所創(chuàng)作的故事比以前任何時(shí)候在史冊中的神話更神奇。歡迎到數(shù)字時(shí)代，已經(jīng)變成了以前從未在人類歷史上出現(xiàn)的電影形式，tradigital電影杰作——?jiǎng)?chuàng)造一個(gè)驚人的新藝術(shù)形式。他們的瘋狂的幻想甚至可以對人們的視覺效果產(chǎn)生眩暈，威利斯奧布萊恩，喬治和雷哈里豪森幀動(dòng)畫曾經(jīng)預(yù)見到的技術(shù)和想象力將在21世

6、紀(jì)的電影里實(shí)現(xiàn)。如在20世紀(jì)60年代麥克盧漢指出，機(jī)器將'變成一種藝術(shù)形式，那么今天的數(shù)字時(shí)代和tradigital電影制作人也變成了獨(dú)特的藝術(shù)形式，神話無處不在。而這種新的藝術(shù)（同時(shí)也讓我們很高興）正在發(fā)揮現(xiàn)代世界的混亂，在我們生活中扮演非常重要的角色，而唯一確定的是不確定性。今天，不符合邏輯的故事和微妙的真理，他們組合在一起變得更為重要。他們給我們指導(dǎo)，用亞里士多德的話說，“我們?nèi)绾紊畹纳睢薄?lt;/p>&l

7、t;p>　　這些從遠(yuǎn)古以來的神話故事已經(jīng)稱為亞洲國家的文化傳統(tǒng)的一部分。最能體現(xiàn)這一問題的是在在陰皮影戲的演出。所謂的皮影戲在努沙登加拉地區(qū)已被確認(rèn)是一種采用每種特殊形式的電影，皮影戲的對話形式和木偶形象和聲音都伴隨著音樂。</p><p>　　從20世紀(jì)到21世紀(jì)，古代英雄，國王，魔鬼和巫師的故事從來沒有比現(xiàn)在電影在數(shù)字化時(shí)代發(fā)展的快。技術(shù)發(fā)展帶來了神話故事搬上銀幕，顛覆了故事的作者對故事的理解，拋開了傳

8、統(tǒng)的制作方式。古老的講故事的創(chuàng)建，從無數(shù)的傳說，寓言和民間故事到夢幻世界。這些故事的靈感是來自于神話，也是人們著迷的宗教信仰的一部分。他們所展現(xiàn)的奇妙世界，神圣和半人半神人居住的世界，能夠自由飛翔的天空，突按自己的愿望變換形態(tài)，有豐富的山水和超現(xiàn)實(shí)環(huán)境。</p><p>　　在中國，西天取經(jīng)的神話故事，可追溯到16世紀(jì)的史詩之旅。它是基于一個(gè)傳說，從一個(gè)和尚前往印度帶回佛經(jīng)的故事。孫悟空是故事中的主角，和哈努曼一

9、樣，孫悟空是一個(gè)強(qiáng)大的猴子，但與哈努曼造型不同，談到這個(gè)就不能不提及萬氏兄弟（萬籟鳴、萬古蟾、萬超塵、萬滌寰），他們可謂中國動(dòng)畫片的鼻祖。孫悟空的動(dòng)畫片是一個(gè)了不起的電影，戰(zhàn)斗場面，透過京劇的軍事風(fēng)格，對戲曲的影響還表現(xiàn)在其豐富多彩的背景和人物造型。其他動(dòng)畫的西游記人物到西方的電影人哪吒征服龍王（嚴(yán)定憲/萬書趁/阿大，1979年）和孫悟空征服的惡魔（德衛(wèi)，1985）。</p><p>　　The current

10、animation wraps does not provide the feasible character the creation and the variation. In this article, we design a character life and the rhythmic level prototype frame active control plan. From first floor control hig

11、h level by with the operations order achieves the basis the motion and the time parameter tradition animation principle. The motion sequence which has custom-made through the choreography in the rhythm, the order active

12、character carries out a fierce Chinese lion and </p><p>　　How can the traditional design cartoon creation convince the vivid coal ash to move through the design moves is the gap basis individuality, the char

13、acteristic and a person's character and the movement physics achievement animation esthetic aspect. From the lowest horizontal pendulum to the pendulum in the construction overlap sound of something being struck or f

14、alling to the ground's in character movement motion refinement, the design cartoon by arranges strong or the weak motion control change</p><p>　　Was synthesizing person's motion many recently diligen

15、tly and the user control address question integrated circuit or dynamics basis is angry the vigorous character. The genuine substitute person actor carries out various repertoire through to integrate two state space moto

16、r controller. In another hand, was discussed highly recently in the extraction research style or from the motion. A typical China dances the lion by two to legislate the dancer. The lion dancer takes the head foreleg, wh

17、en a b</p><p>　　Proposed that before the animation control system has a practical plan character motion which, the creation may control by each rhythmic form. The control mechanism we the system is the intui

18、tion can give for the user dynamic entrusts with the life although even they may not be specialized with the traditional animation skill training. We operate surrounding in one more complex present and more lions dance t

19、he repertoire including the irregular terrain. The secondary motion for example rug, the </p><p>　　Although progressed recently in the comdomain the puter animation, synthesizes an expressive character and h

20、igh-quality user control animation maintains huge challenge. Created the expressive motion the key to call is to hoard in the experienced design cartoon inside brains. Such trains the traditional design cartoon to increa

21、se them highly to move sense through to describe their intention the motion to an intuition character. All these subjective fac- expressive animation's tors uses in is the </p><p>　　Was synthesizing pers

22、on's motion many with user control address question phys the icsdynamics basis to be angry diligently recently the vigorous character. Liu gen the erates character motion and the dynamic constraint by the detecting p

23、hrase motion which and the motion inputs for the design cartoon sketching tool. And so on Hodgins simu late number physics basis and high level athletics from global control behaviors. Genuine substitute person actor t

24、he performs various repertoire through inte</p><p>　　Our character animation prototype system is in the motion control four level basis, like demonstrates Figure 2. In each program run controller level is de

25、fined from the base, but works in the quite reverse way. The first floor operations order is from high level controller's derived, when is higher the level animation control basis achieves the collaborating first flo

26、or motion controller. In each level, the motion control module, anything said that “the motion controller” or “the controller” gen</p><p>　　This proposition system initialization and carries out the ing spac

27、e in the three dimensional genuine environment and several the articulated kind of person animal character we the actor. Carries on the animation for example China's rhythmiclion dance in a, we anticipated that the u

28、ser will want directly to the control bat and the lion vividly dances animation through to change rhythmic input for example drum to strike. Therefore our system starts its control and the rhythm inputs the interprete<

29、;/p><p>　　As intermediate level operations order, Ac- tions, in motion library description simplex person's behaviors for example may be the cho- stride or jumps reographed to a series of person's motio

30、n, namely it is choreography used enters the play to order. ac- the tion order contains the period and the stress performance assigns levelly motion parameter controls. Motion period by assigns the control play's tim

31、e director module. the The stress parameter is designed reflection performance's control viv</p><p>　　Not only the emphasis motion is exaggerating postures, moreover redistribution time these Americas bl

32、ack cuckoo mated posture. For example, one kind of lag's preparation may imply a suddenly big movement and a slow terminates this motion again damping. To with perhaps the analogy leap motion, a deep water trough sug

33、gested that the high jump and the extra time later will maintain safely in the debarkation. This also again flects “anticipated” and “secondary motion” the animation principle. Theref</p><p>　　The posture or

34、der mails from the active layer to the the basic level control, the implementation suspends at to the pose character design cartoon development procedure. the Since posture order uses in composing clearly with stress act

35、ions, and these atomic chart moves commands accepts the period is exaggerating from action control parameters. Period is uses the human gradually by motion deployment assigned by actor's aging. Exaggerating motion pa

36、rameter is indicates how close the violent posture</p><p>　　Carries out these based on the IK kind of person animal module the pose-to-pose operation through to operate each part of people calculate for exam

37、ple from the arm and leg's ofrequesting posture order. We also design curve changing which Bezier imitates “to form the arc light” and “comfortable & Out “the animation principle, when interpolates the is angry t

38、he vigorous image. The frame animated character which interpolates is used the pipeline to transport to final character life 3D Renderertion </p><p>　　Because the Chinese lion dance is at first from the Chin

39、ese martial arts, mostly the lion dance motion is from military main military form composedarts for example “the horse posture” the form or “the bow and the Arrow posture " form and so on. In lion dance play period,

40、 rotates the fierce phrase sessions either the motion achieve agreement the to scene the atmosphere or response audience. In the following branch, we will use Chinese will be the example demonstrated how lion dances the

41、intuitive</p><p>　　Our some person's characteristic's lion dancer is portrayed with ties as hierar- the tree structure chical connection the by arc. Kinematics model's each which simplifies ties

42、here to represent for the human is entrusted with the life key joint figures. Main, the lion dance execution and in March requests certain bodily spot to the tial motion and distinct posture reach concrete position. Ther

43、efore we first separates us the kind of person animal which expresses explicitly to enter two portions: </p><p>　　Proposed that before the animation control system has expres- one which, the vided creation m

44、ay control to plan the sive character motion practical by each rhythmic form formance. The control mechanism we the system is the very intuition can give dynamic charac- for the user to entrust with life ters although ev

45、en they may not be specialized with traditional animation skill trained. We operates in one more complex present surrounds ment and more lions dances repertoires including the irregular t</p><p>　　We transfo

46、rm them to other motion which aims. We can designate limit to the main training process in the tain motion characteristic, perhaps it rapidly becomes the achievement design motion procedure labor-intensive. Our the proce

47、dural motion controller creation character migration and the motion and time parameter's ments from lowers to high-level level. Therefore the pattern of action variation may be made possibly and reorganizes through t