發(fā)布時(shí)間：2018-11-23 19:29

【摘要】：無(wú)論在藝術(shù)成就還是商業(yè)上，皮克斯的成就足以讓它成為當(dāng)今最成功的動(dòng)畫(huà)締造者，技術(shù)和創(chuàng)意都為人稱道，成為迪斯尼之后最有影響力的動(dòng)畫(huà)工作室。在二十五年的發(fā)展歷程中，他們的作品類型多元，其中以長(zhǎng)片最為著名，，每一部都是創(chuàng)造著歷史，構(gòu)筑出屬于皮克斯的動(dòng)畫(huà)王國(guó)，深刻的影響了世界動(dòng)畫(huà)。 影視作品是女性主義斗爭(zhēng)的主要陣地。在女性主義者和電影理論家發(fā)現(xiàn)女性在電影中“景觀”式的“性客體”地位之后，他們結(jié)合后現(xiàn)代電影理論和女性主義理論對(duì)女性在電影中的形象進(jìn)行了有趣的研究；同時(shí)，越來(lái)越多的電影導(dǎo)演樂(lè)于顛覆自己作品中的女性形象，創(chuàng)造出一個(gè)和過(guò)去延宕的女性形象完全不同的、全新的、主動(dòng)的，甚至是充滿攻擊性的新女性形象。本文運(yùn)用相關(guān)的女性主義理論和女性主義影視理論旨在分析皮克斯長(zhǎng)篇?jiǎng)赢?huà)電影中女性形象的轉(zhuǎn)變，理清發(fā)展的脈絡(luò)。 本篇論文主要分為引言、正文和結(jié)語(yǔ)三個(gè)部分。 引言主要介紹了相關(guān)的女性主義電影理論和皮克斯長(zhǎng)篇?jiǎng)赢?huà)電影的創(chuàng)作情況，介紹了作者寫(xiě)作的意圖和期望達(dá)到的研究高度。 正文部分主要由四個(gè)部分組成。 第一部分簡(jiǎn)單梳理了皮克斯動(dòng)畫(huà)工作室的基本情況，記錄了皮克斯的發(fā)展歷程，回顧了其在技術(shù)上對(duì)動(dòng)畫(huà)發(fā)展起到的推動(dòng)作用。 第二部分以皮克斯的長(zhǎng)篇?jiǎng)赢?huà)電影為例，將出現(xiàn)在其中的女性角色進(jìn)行分類，詳細(xì)分析各種類型的女性角色的塑造對(duì)闡述動(dòng)畫(huà)電影主題起到的作用，女性角色在不同時(shí)期的動(dòng)畫(huà)片中的發(fā)展變化，強(qiáng)化動(dòng)畫(huà)片的主題表達(dá)，切入主題，為后來(lái)的女性角色分析做了鋪墊。 第三部分和第四部分運(yùn)用女性主義電影理論對(duì)皮克斯長(zhǎng)篇?jiǎng)赢?huà)電影中的女性形象進(jìn)行分析，在簡(jiǎn)要介紹了女性主義思潮的不同時(shí)期的發(fā)展之后，詳細(xì)的對(duì)皮克斯電影中的女性主義的話語(yǔ)元素進(jìn)行論述。從女性主義暴力影像的呈現(xiàn)，女性個(gè)體價(jià)值的關(guān)注和女性間情感的光輝三個(gè)方面闡述了觀點(diǎn)，契合了女性主義電影理論。 第五部分是結(jié)語(yǔ)部分，總結(jié)了女性主義電影理論和皮克斯動(dòng)畫(huà)長(zhǎng)片之間的相互闡釋，密不可分的關(guān)聯(lián)性，總結(jié)了皮克斯的創(chuàng)作規(guī)律，以期發(fā)現(xiàn)這個(gè)動(dòng)畫(huà)工作室的成功之處和創(chuàng)作上的規(guī)律，為動(dòng)畫(huà)實(shí)踐提供借鑒。
[Abstract]:Both in art and in business, Pixar's achievements make it the most successful animator of the day, technology and creativity, the most influential animation studio since Disney. In the course of 25 years' development, their works are of various types, among which they are most famous for their feature films, each of which is creating history and constructing a kingdom of animation belonging to Pixar, which has a profound impact on the animation of the world. Film and television works are the main position of feminist struggle. After feminists and film theorists found out the status of women as "sexual objects" in movies, they made an interesting research on the images of women in films with the combination of postmodern film theory and feminist theory. At the same time, more and more film directors are willing to subvert the female images in their own works, creating a completely different, new, active and even aggressive new female image. The purpose of this paper is to analyze the changes of female images in Pixar's long animated films and to clarify the development context by using the relevant feminist theory and feminist film theory. This thesis is divided into three parts: introduction, text and conclusion. The introduction mainly introduces the relevant feminist film theory and the creation of Pixar's long animated film, and introduces the author's intention and expectation of writing. The main body part consists of four parts. The first part briefly combs the basic situation of Pixar Animation Studio, records the development course of Pixar, and reviews its promoting effect on the development of animation. The second part takes Pixar's long animated film as an example, classifies the female characters appearing in them, and analyzes in detail the role of various types of female characters in describing the theme of animated films. The development and change of female characters in different period of animation, strengthen the theme expression of animation, cut into the theme, and pave the way for the later analysis of female characters. The third part and the fourth part use the feminist film theory to analyze the female image in Pixar's long animated film, after briefly introducing the development of the feminist trend of thought in different periods. This paper discusses the discourse elements of feminism in Pixar movies in detail. This paper expounds the viewpoint from three aspects: the appearance of feminist violence image, the concern of women's individual value and the splendor of female emotion, which coincides with the feminist film theory. The fifth part is the conclusion part, summarizes the feminist film theory and the Pixar animation feature film mutual interpretation, the inseparable correlation, has summarized the Pixar's creation rule. In order to find the success of this animation studio and the rules of creation, for animation practice to provide reference.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J954

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