پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 25 |
| تعداد شماره‌ها | 951 |
| تعداد مقالات | 7,815 |
| تعداد مشاهده مقاله | 12,971,261 |
| تعداد دریافت فایل اصل مقاله | 9,204,799 |
مطالعه تأثیرات جنگ بر عناصر دیداری موجود در تصاویر انیمه ژاپنی مدفن کرمهای شبتاب اثر ایسائو تاکاهاتا | ||
| پژوهش نامه گرافیک نقاشی | ||
| مقاله 8، دوره 6، شماره 10، شهریور 1402، صفحه 113-122 اصل مقاله (992.66 K) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/pgr.2023.43216.1206 | ||
| نویسندگان | ||
| حسن شکری* 1؛ امیرعباس محمدی راد2 | ||
| 1دانشجوی دکتری پژوهش هنر، دانشکده هنر، دانشگاه تربیت مدرس، تهران، ایران، نویسنده مسئول. | ||
| 2استادیار گروه نقاشی ، دانشکده‌هنرهای تجسمی، دانشگاه هنر اصفهان، اصفهان ایران. | ||
| چکیده | ||
| هنر هر دوران در طول تاریخ بازتاب‌دهندة تحولات جامعة حاکم بوده، از آن تأثیر پذیرفته و بر روی آن تأثیر میگذارد. گاه این تحولات در دنیای انیمه بهعنوان شاخهای از هنر به‌واسطة حضور تصاویرِ متحرک محسوس میگردند. جنگ و پیامدهای آن نیز پدیدههایی هستند که از گذشته مورد توجه هنرمندان قرار گرفته و امروزه همچنان در راستای آن آثار هنری شکل میگیرند. یکی از این دسته آثار، انیمه ژاپنی مدفن کرمهای شبتاب به کارگردانی ایسائوتاکاهاتا است که به نظر میرسد در مراحل ساخت آن، جنگ بر برخی عناصر دیداری موجود در تصاویر اثر بی‌تأثیر نبوده‌است و از این جهت پرسشی که برای پژوهشگر مطرح میشود این است که محوریت جنگ چه تأثیری بر برخی عناصر دیداری موجود در تصاویر انیمه ژاپنی مدفن کرمهای شبتاب اثر ایسائوتاکاهاتا داشته‌است؟ و هدف از انجام این پژوهش نیز، مطالعهای بر تأثیرات محوریت جنگ بر عناصر دیداری موجود در تصاویر انیمه ژاپنی مدفن کرمهای شبتاب اثر ایسائوتاکاهاتا است. این پژوهش از نوع توصیفی-تحلیلی بوده و با تکیه بر ابزار کتابخانهای، اینترنتی و همچنین مشاهدة نمونة موردی این پژوهش « انیمه ژاپنی مدفن کرمهای شبتاب» به انجام رسیده‌است و یافته‌های این پژوهش به‌گونهای گویای این هستند که کارگردان در راستای محوریت اثر و انتقال پیام درست به مخاطب، از قابلیتهای موجود در عناصر و کیفیاتی همچون خطوط و اشکال، رنگ و میزان اشباع آن، تضاد و تباین موجود در تصاویر، ترکیببندی و چیدمان عناصر و همچنین در نهایت از حرکت بهره برده و آنها را ترکیب کرده‌است. | ||
| کلیدواژه‌ها | ||
| کلیدواژه‌ها: تأثیرات جنگ؛ عناصر دیداری؛ تصاویر؛ انیمه؛ مدفنکرمهای شبتاب | ||
| عنوان مقاله [English] | ||
| The Study of the Effects of War on the Visual Elements in the Pictures of the Japanese Anime Grave of the Fireflies by Isao Takahata | ||
| نویسندگان [English] | ||
| Hasan Shokri1؛ Amir Abbas Mohammadi Rad2 | ||
| 1PhD. Student, Department of Art Research, Faculty of art, Tarbiat Modares University, Tehran, Iran, Corresponding Author. | ||
| 2Assistant Professor. Department of Painting, Faculty of Visual Arts, Isfahan University of Art, Isfahan, Iran. | ||
| چکیده [English] | ||
| Throughout history, humans have faced the phenomenon of war in their lives, and war is also a set of social issues that are included in the category of anomalies in human life, as well as damage and consequences. It brings with itself destruction, anxiety, chaos, and death. Naturally, due to the mentioned reasons, the artists of the societies react to this issue and are influenced by it. Artists, as leaders of art and culture, have different approaches to war based on the time and place conditions, the aesthetic standards of their era, as well as their expertise in different artistic fields. The effects of historical wars, both big and small, can be seen in different ways in the cinematographic, visual, literary and musical Artworks. In Artworks related to war, artists represent narratives and individual and collective feelings. These concepts make the survivors and the new generation understand the events and disasters that sometimes bring a sense of shame and sometimes a sense of collective pride. Artists throughout history, inspired by some common cultural, political, and social conditions, record narratives or embody their personal view of events, among which some retell the war with a heroic perspective, and some also depict catastrophes and destructions. These cases are sometimes evident in the world of anime and animation. Anime and animation, due to their features, i.e., conveying feelings with the help of images and movement, the freedom of the artist in designing characters and using visual elements and qualities, makes it possible to create a deeper connection between the artist and the audience. Many artists around the world have recounted the tragedies and consequences of war by relying on this field of art. For example, Japanese anime artists such as Miyazaki and Takahata have started creating works of art in line with the Second World War, which had engulfed Japanese society at times. The swing is considered to be the work of Isao Takahata. It should be noted that animes, which are animation products specific to Japan, include a collection of several artistic fields, including drawing, painting, acting, dancing, sculpture, photography, and music, and in this, it can be said: Anime art is included in the category of visual arts, in such a way that aesthetics, the effect of its elements and its visual quality require a general understanding of the principles and basics of the aforementioned arts, as well as having visual literacy, because having a coherent artwork comes from the basic combination of qualities and visual elements that some of these qualities and visual elements are changed in line with the theme of the anime. It seems that the focus of the war on some elements and visual qualities was not unaffected in the anime "Grave of the Fireflies". From this point of view, the question raised for the researcher is: What effect did the centrality of war have on some visual elements in the pictures of the Japanese anime, Isao Takahata's Grave of the Fireflies? And the purpose of this research is to study the effects of the focus of the war on the visual elements in the pictures of the Japanese anime, Grave of the Fireflies, by Isao Takahata. This article has been done in a descriptive-analytical way, and the information contained in it has been obtained through the use of some library and internet sources, as well as observation and study of Isao Takahata's Grave of the Fireflies anime have been collected. In this way, some of the visual elements and qualities present in the considered sample pictures have been investigated based on the effects of war on them. The findings of this research show that: the lines that in some way lead to the formation of the texture as well as the rhythm, in the example of this research, have the task of showing the facial scars, scratches, and characters having mud on their bodies. In this anime, the intensity and weakness of the lines in some scenes intensify and induce the sense of isolation, loneliness, and suffering caused by war. If we pay attention to the design of the two characters Sita and Setsuko during the anime, we will find that the closer we get from the beginning of the work to the end, the more lines appear on their faces, bodies, and clothes, The multiplicity of these lines and the textures formed through them in the pictures of the artwork can express the helplessness, fatigue, endurance of many hardships and the physical damage caused by the war to Sita and Setsuko, which, of course, in this anime is similar to the rest of Takahata's works. The peripheral lines of the elements and characters are also preserved, of course, these types of peripheral lines are a signature of the director. In animes such as Grave of the Fireflies, which follows the theme of war, in the scene after the air strike on Kobe city in this anime, when Sita looks at the cityscape from a distance, the ruins look like they are covered with a layer of grey colour. For example, the greenness of the plains has been replaced by dull green colour and the blue colour of the sky has been mixed with grey as if they carry a layer of dust and sadness with them. Of course, it should be noted that the game with the element of colour and its saturation is also used as a tool for emphasis in the pictures of the work, such as when the people of the city start collecting debris and destroyed household items. They say that Sita and Setsuko appear in the centre of the frame with a bright and clear colour and the rest of the people who are struggling in the background are depicted with high colour saturation, thus emphasizing the main characters of the story. The presence of contrast both in the content and visual layers of the work shows the contrast between a peaceful life and a life full of anxiety and pain caused by the war. In the content part of the work, we can mention the cherry blossoms. In Japan, every year during the blooming of the cherry blossoms, a ceremony is held along with an excursion in nature. These blossoms do not survive more than a few days and soon They are lost. The depiction of the family of four, Sita and Setsuko, in the middle of a bunch of cherry blossoms, can be a sign of the short life of this war-torn family, because in the rest of the scenes of this anime, each of these characters painfully lose their lives. It is clear that the desired visual elements do not create a sequence by themselves or by chance, but it is the director who arranges the characters and other elements according to the centrality of the work and the content in it. In the anime "Grave of the Fireflies," it seems that the composition has been done carefully and based on the principles following visual arts and cinema. For example, the opening images of the movie Sita's Half-life at the train station, show the use of golden proportions in the composition of the desired anime image. The correct use of elements made this work known as the best anti-war anime. The images in this anime are like paintings that have preserved their beauty despite portraying a bitter and dark story. In the image of the escape sequence of Sita and Setsuko, the composition of the page is such that the two characters are surrounded by circles. The placement of two figures from the back view in the middle of the circular frames, which themselves induce a magnifying glass-like look, evokes a sense of pursuit in the audience, these views, through the correct composition design, even the moods, the spirit of the characters has also been well conveyed to the audience. Movement, as a visual element in anime, sometimes carries with it a sense of enchantment and magic, in the anime "The Bury of the Glow Worms", the movement and vibrancy of the worms give the audience a magical and enchanted feeling. Because, when the characters of the work are disappointed, fireflies appear, in the middle of the rice fields in the dark of night when Sita and Setsuko talk about family and parents, the sky is full of worms. It becomes a nightshade. And when the candy can of Setsuko is thrown out of the station as garbage by the train station attendant, the fireflies start moving again in the form of luminous and magical points. | ||
| کلیدواژه‌ها [English] | ||
| Keywords: Effects of War, Visual Elements, Pictures, Anime, Grave of the Fireflies | ||
| مراجع | ||
|
منابع
- السون، متیو اچ؛ هرگنهان، بی. آر. (1383). مقدمهای بر نظریه یادگیری، ترجمه علیاکبر سیف، تهران: دوران.
- بوردل، دیوید؛ کریستین، تامسون (1389). هنر سینما (چاپ هفتم)، ترجمه فتاح محمدی، تهران: مرکز.
- حسنایی، محمدرضا؛ موسوی، سعیدهسادات (1397). «مطالعه نقش داستان‌های مصور و انیمیشن در شکل‌دادن به مفهوم هویت ملی در ژاپن در مقایسه‌ای تطبیقی با ایران»، مطالعات میانرشتهای ارتباطات و رسانه، 2، 64-33.
- حسینی شکیب، ایمان (1379). انیمیشن ژاپنی در برابر انیمیشن آمریکایی «یک مقالة متقاعدکننده». بیداری رویاها، کانون پرورش فکری کودکان و نوجوانان، 136-129.
- داندیس، دونیس (1384). مبانی سواد بصری (چاپ دوازدهم)، ترجمة مسعود سپهر، تهران: سروش.
- دانشگر، فهیمه؛ طاهری، مینا (1399). «بررسی ترکیببندی در بیلبوردها و عرشههای پل شهری تهران (1396-1394)»، پژوهشنامه گرافیک و نقاشی، 5، 65-53.
- ریو، جان (1389). هنر ژاپن: نگاهی به جزئیات، ترجمة بابک محقق، تهران: فرهنگستان هنر.
- شهرزاد، بنفشه (1398). بررسی تطبیقی مقوله جنگ در آثار هنرمندان نقاشان اروپا و خاورمیانه از سال 2018-1940. پایاننامه کارشناسیارشد، رشته نقاشی، دانشکده هنرهای زیبا، دانشگاه هنر تهران.
کارگران، ابراهیم؛ فرج‌نژاد ابرقوئی، محمدحسین(1401). جریان مقاومت در انیمیشن و سینمای ژاپن «مطالعه موردی: تحلیل و بررسی انیمیشن مدفن کرمهای شبتاب». مطالعات رسانه ای, 17(1), 62-51.
- علمداری، امیرمسعود (1385). «انیمیشن ژاپن در مقابل آمریکا»، فصلنامه سینمایی فارابی، 62، 77-82.
- فرنیس، مورین (1395). زیبایی شناسی انیمیشن (پویانمایی). ترجمة اردشیر کشاورزی، تهران: دانشگاه صدا و سیما.
- موسوی، وحیدالله (1396). «میزانسن و شخصیتپردازی»، فصلنامه سینمایی فارابی، بنیاد سینمایی فارابی، 80، 171-154.
References
Alamdari, A. (2005). “Japan vs America animation”, Farabi Cinema Foundation, 2 (62), 77-82, (Text in Persian).
Banafsheh, B. (2019). A Comparative Study of the Category of War in the Works of European and Middle Eastern Painters from 1940-2018, Master's thesis. Tehran University of Art. (Text in Persian).
Bordwell, D., (1979). Film Art: An Introduction, (12nd ed), Translated by Fattah Mohannadi, Tehran: Nashre Markaz, (Text in Persian).
Daneshgar, F., Taheri, M. (2020). “A composition survey on urban billboards and bridge decks of Tehran (2015-2017)”, Journals of Graphic Arts & Painting, 1 (5), 53-65, (Text in Persian).
Donis, D. A. (1973). A Primer of Visual Literacy, (12nd ed). Translated by Masoud Sepehr, Tehran: Sorush, (Text in Persian).
Freud, S. (1912). Selected Papers on Hysteria and Other Psychoneuroses. New York: Publishing Company.
Furniss, M. (1998). Animation (Cinematography), (1nd ed). Translated by Ardeshir Keshavarz, Tehran: IRIB University, (Text in Persian).
Hosnaei, M., Mousavi, S. (2018). “The role of visual comic stories and animation in portraying the concept of national identity in Japan in a comparative study with Iran”, Ministry of Science, Research and Technology, 1 (2), 33-64, (Text in Persian).
Hosseini shakib, I. (2000). “Japanese animation vs. American animation “a persuasive essay” awakening dreams”, Institute for the Intellectual Development of Children and Young Adults, 1 (2), 129-136, (Text in Persian).
Olson, M. (1951). An Introduction to Theories of Learning, (8nd ed), Translated by Ali akbar Seif, Tehran: Nashre Doran, (Text in Persian).
Radstone, S. (2003). Regimes of Memory, London: Routledge.
Reeve, J. (2005). Japanese Art in Detail, (1nd ed). Translated by Babak Mohaghegh, Tehran: Iranian Academy of the Arts, (Text in Persian).
Vahid Allah, M. (1997). “Mise-en-scène and characterization”, Farabi Cinema Foundation, 2 (80), 154-171, (Text in Persian).
URLs
| ||
|
آمار تعداد مشاهده مقاله: 168 تعداد دریافت فایل اصل مقاله: 141 |
||