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The development of 3D graphic image technology and human in-depth research on visual perception are the prerequisites for the birth of 3D animated films.
The research on the technical aesthetics of Chinese 3D animation films is a study on how Chinese animation creators use 3D digital image technology to express the imaginative domain of oriental poetry and tell good stories in contemporary China in the context of the difference and interaction between Eastern and Western aesthetic concepts.
Therefore, this paper regards Chinese 3D animation film as an organic living body, and starts according to five parts: root, environment, development, result and value: first, it explores the source of aesthetic ideas of Chinese 3D animation film, secondly analyzes the external ecological environment and internal growth conditions of its technical production, and again analyzes the construction form of Chinese 3D animation film technology in combination with specific film works.
Then, the quality of audiovisual effects on the senses is analyzed from the perspective of artistic aesthetics, and finally the aesthetic value contained in it is analyzed from two aspects: aesthetic characteristics and aesthetic spirit.
In addition, with the help of the historical timeline of the development of 3D animation technology in the research process, the dynamic development process of Chinese 3D animation films is placed in it for overall analysis, and finally related disciplines such as the history of science, humanities and art, mass communication and sociology are linked, in an attempt to establish a multi-reference system with both the development process of technology and the perspective of humanistic communication.
This paper jointly discusses how Chinese 3D animation films gradually form their own aesthetic characteristics, aesthetic spirit and aesthetic value in the imitation and creation, running-in and refinement of technology and art.
Animated films show the universal truth and the beauty of humanity through the combined force of technology and art. The development of Chinese 3D animation film is a dynamic process, which can present the era, craftsmanship and values of China's contemporary society from the perspective of globalization.
Based on the analysis of the technical construction process of Chinese 3D animation film works and the specific case studies, this paper attempts to find the historical mapping of the development law of Chinese literature and art and the cultural thought, aesthetic spirit and value concept embodied therein, so as to enter the human art and humanistic discourse system.
Aesthetics, is "art science" is also "anthropology", in Greek, aesthetics is the meaning of feelings, feelings, derived from people's feelings, without people's participation, there is no aesthetic existence. Technical aesthetics is the aesthetic experience of human aesthetic practice activities in material production and the creation law of beauty.
Modern cinema has become one of the most striking forms of numerous technological inventions. As the seventh art that accommodates multiple media, film is an art with the most structural beauty and comprehensive beauty, and is a collection of multiple technologies, and different production techniques will also produce their own unique beauty. Sebastian said: "Animated film, the first attribute is film."
In 1995, Pixar Studio's "Toy Story" opened the artistic and technical paradigm of 3D animated films, and since then, 3D animated films have developed rapidly and gradually become one of the most commercially promising and profitable genres in the film industry, and the intertwined development of 3D animation technology and film narrative art has constantly changed people's sensory experience and aesthetic concepts.
In the 21st century, Chinese 3D animated films have also achieved gratifying results. Since 1999, "Pauline Lantern" has been created by combining traditional animation with 3D animation; In 2001, the Chinese animated film "Little Tabby" with simple 3D model animation tested the waters; In 2006, the full 3D animated film "Mobis Ring" produced by Shenzhen Global Digital Co., Ltd. was released;
In 2015, "Journey to the West: The Return of the Great Sage" directed by Tian Xiaopeng ushered in a phenomenal hit; In 2019, "Nezha: The Devil Child Descends" produced by Color Stripe House Pictures has become a new milestone in the rise of domestic animation. In the past 20 years, Chinese 3D animation films, from the imitation of other people's technology to their own artistic creation, have forged ahead and steadily precipitated 3D animation technology
From the technical form, artistic effect to aesthetic value, there is an essential improvement, basically realizing the harmony and unity of form and content, and also completing the adjustment of the local cultural industry structure to the comprehensive development of commercial market profits.
So far, 3D animation film has become a new media for the dissemination of national spiritual culture, contemporary values and one of the important products of the cultural industry. Therefore, systematically combing how Chinese 3D animation film creators apply 3D animation technology to create oriental meaning, national emotions, aesthetic characteristics, aesthetic spirit and creative laws has also become an important research purpose and research significance of this paper.
3D animation has a strong technical application attribute, is developed on the basis of Western rational natural science and aesthetic concepts, and is a work of art that uses 3D digital graphics technology to simulate body, space, time and light and shadow on the basis of computer science.
So how can Chinese 3D animation gradually integrate it with local aesthetic concepts and form visual art transformation and dissemination? What are the rules of art? What are the characteristics of personality or commonality? How to convey the spirit of oriental aesthetics and highlight the value of Chinese aesthetics? These issues deserve our in-depth consideration and summary.
Therefore, to study the technical aesthetics of Chinese 3D animation films, we will start from the technical perspective to explore the properties of animation ontology, expand it, explore the aesthetic gene composition and aesthetic concept evolution of Chinese 3D animation films, explain the internal and external ecological environment and internal growth conditions faced by the development of China's 3D animation film technology, and analyze the construction form of technology in detail.
In-depth analysis of the artistic aesthetic effects of shape, movement, color and language in film works, summarizing the aesthetic spirit and aesthetic value of Chinese 3D animation films, and finally reflecting on and exploring the problems and bottlenecks encountered in the development of Chinese 3D animation, so as to provide experience for reference.
Beauty has never disappeared, and the aesthetic concepts of the East and the West are also advancing in mutual influence. Since the Renaissance movement in the West, the "parallel perspective" and "angled perspective" in the focus perspective on painting have a great influence on obtaining three-dimensional spatial effects. However, by the end of the 18th century, the neoclassical and realistic masters of Western painting faced the challenges of the development of photochemical research and photographic technology.
While artists seek their own value, they also hope to get rid of the shackles of traditional concepts. Under the influence of this new scientific discovery and view of art, the Impressionists realized that color changed by light, abstraction turned to self-expression, Fauvism emphasized subjectivity and cubism
Introducing the change of time into the picture, Dadaism broadening the sensory world, etc., the genre peaks, all of which strive to break through the flat shelf painting, showing the sensory experience of light and shadow, color with time, and perspective.
At this time, with the exchange between China and the West in the Qing Dynasty in China, the painting of artists such as Lang Shining became popular, etc., Chinese painting began to have Western oil painting factors. During the Republican period, Xu Beihong and Lin Fengmian were the representative figures of "Yinxi Runzhong" 3 at that time.
Deeply influenced by the New Culture Movement, they followed the idea of introducing Western art to transform Chinese painting advocated by Kang Youwei and Chen Duxiu, and strived to break away from the traditional ink painting program and emphasize that art reflects real life.
Xu Beihong went to study in France to study European classical art, and after returning to China, he combined the European realism tradition with Chinese painting, forming a technical language art work that emphasized foreign teachers, was loyal to objective realism, and made extensive use of Western painting.
Lin Fengmian advocates the "integration of East and West", and pays more attention to absorbing Western artistic expressions and artistic concepts from modern and modern Europe. His ink colors strive to combine the impressionist dot colors, expressionist self-feelings, and cubist formal structures with the line drawings of Han dynasty paintings and the shapes of folk art.
In the West, animation has become a new medium connecting artists and paintings, which not only makes the painting move, but also infinitely extends the deformation of space, realizes the abstract expression of the artist's concept, and assists the artist to realize the long-cherished wish of free expression of movement, time, space and ideological spirit
In each of these paintings, anything can become an illusion of life. In the East, "soon after World War I, art schools opened in Beijing, Shanghai, Nanjing and Hangzhou," and some students went to France to study and introduced Western aesthetic ideas to China, which directly or indirectly influenced the ancestors of Chinese animation film creation.
At this point, the aesthetic concepts of the East and the West have added exotic concepts and forms to the background of their respective traditions, and art and ideas are associated and interacting, and ideas become the catalyst and mutual influence of art.
Second, the ontological properties of the animation are done one by one "fake" play "frame"
"Fake" means man-made, which is an artistic effect constructed by human technology, and "frame" is the technical implementation form of animation art. In the early 19th century, the Industrial Revolution opened the door to the exploration of modern science, and art genres sprung up, and on the timeline of modern scientific development, dynamic pictures promoted the birth of "frame-by-frame" technology on the basis of "hand-flipped books" and "magic slides".
Belgian physicist Joseph Prado lost his eyes to the sun in order to explore the mystery of the human eye's lightfastness and object retention, but he grasped the visual characteristics of "afterglow residue". Following Prado, British physicist Michael Faraday discovered that the light bands produced by burning charcoal when waved stay on the human retina for 0.1-0.4 seconds, and then created the "Faraday wheel" theory.
After 1832, the recovered Prado was inspired by the folk toy "phantom disk" and combined with the characteristics of "afterglow residue" to develop a "trick disk" that can make the picture produce continuous action", "It can be said that when Prato invented the trick disk in 1832, animation was already born," 31888, the Frenchman Emil Reynolds invented the "optical shadow machine" and became a pioneer of modern film technology.
The principle of film from discovery to practice, but also the principle and prototype of animation development process, so Renault is not only the inventor of animation machines and technology, but also the creator of animation, he made the shooting of animated films possible, his work "A Cup of Coca-Cola" was included in the historical classics.
After the American Stewart. Blackton discovered the core production techniques of animation, "frame-by-frame", and his works "Funny Faces" (1906) and Haunted Hotel (1907) combined real people and paintings to surprising effect. And the emir . Cole's "Phantom Collection" has truly realized the "painting" that removes the live-action arrangement, is purely pictures-based, and is consciously and tightly structured.
Throughout the artistic forms of various nationalities, from the embryonic birth to the formation of styles, national culture and aesthetic ideas have played an important role in their own artistic creation. In contemporary society, where the ways in which individuals perceive the world are becoming increasingly diverse, each new art form that generates and creates a new paradigm requires the construction of one or more cognitive network systems.
In the second half of the 20th century, the development of computer and digital technology led the public to appreciate the visual wonders, the advantages of 3D images became more and more obvious in the late 90s, and in the 21st century, the advancement of digital technology triggered the explosion of 3D animated films.
The technical aesthetics of Chinese 3D animation films are gradually integrated and implemented under the triple synergy of their respective aesthetic systems, cultural construction and digital technologies in the collision of Chinese and Western aesthetic ideas.
As Einheim noted in the 20th century, "It is the person who creates a work of art who is governed by a certain ideological position, and technical means cannot determine the content of the work." ”
Peng Jixiang also explained in "Film and Television Aesthetics" that "film and television art is not computer art after all, but human art, this kind of computer-produced film, may not need human performance at all, but it is inseparable from human design and human production," the author's thoughts, emotions, aesthetic thinking, imagination and creativity directly affect the aesthetic style and spiritual quality of film and television works.
Therefore, the study of the technical aesthetics of Chinese 3D animation films cannot ignore the study of the cultural concept and aesthetic thinking of the creative subject, and this chapter mainly studies the aesthetic gene composition and aesthetic concept evolution of the creative subject of Chinese 3D animation films in the context of historical materialism.
In 2012, animation film scholar and director Chen Liaoyu said that "we are telling our own stories in other people's languages." Historians, narrators, artists, and sociologists have all demonstrated the influence of cultural totems and meta-narratives on cultural concepts, philosophical ideas, scientific views, and aesthetic views from different perspectives.
The philosophical ideas and aesthetic concepts formed by different "meta-narratives" of the East and the West used to be beautiful and distinctive. However, the concept of "meta-narrative" with different regions and races will inevitably have an important impact on the artistic concept, technical development and aesthetic pursuit of 3D animation, making it take on different forms along different tracks.
In addition, from the perspective of contemporary cultural communication, as Sun Zhentao pointed out, "the global expansion of 3D animation technology seems to be the expansion of technology on the surface, but in essence, it is actually more fundamental to the global expansion of American consumer culture and aesthetic taste." ”
The materials of traditional art mostly come from nature, and the materials of modern art are mostly high-tech products, but behind all art and technical forms is the reproduction of human spirit and heart, and art can express life in a more advanced form.
Therefore, in the face of the huge power and profit formed by 3D animation technology in the global cultural field, especially in the commercial film industry, exploring the influence of cultural totems and meta-narratives on artistic creation in Yuandong is the foundation of China's 3D animation film technology aesthetic research.