Der Computeranimierte Spielfilm

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Der Computeranimierte Spielfilm Klaus Kohlmann Der computeranimierte Spielfilm Klaus Kohlmann (Dr. phil.) arbeitet als 3-D-Artist für mehrere Agen- turen sowie als Autor für Fachmagazine. Er ist Universitätslehrbe- auftragter für 3-D-Computergrafik. (www.klauskohlmann.de) Klaus Kohlmann Der computeranimierte Spielfilm. Forschungen zur Inszenierung und Klassifizierung des 3-D-Computer-Trickfilms Das Buch ist eine von der Philosophischen Fakultät der Universität zu Köln angenommene Dissertation zur Erlangung des Doktorgrades Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © 2007 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Umschlaggestaltung & Innenlayout: Kordula Röckenhaus, Bielefeld Lektorat & Satz: Klaus Kohlmann Druck: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-635-9 Gedruckt auf alterungsbeständigem Papier mit chlorfrei gebleichtem Zellstoff. Besuchen Sie uns im Internet: http://www.transcript-verlag.de Bitte fordern Sie unser Gesamtverzeichnis und andere Broschüren an unter: [email protected] INHALT Einleitung 13 1. Portrait des konventionellen Trickfilms 21 1.1 Ausprägungen und Gattungen 22 1.2 Anfänge der Animation 25 1.3 Stationen des Zeichentrickfilms 26 1.4 Inszenierungsforschung des konventionellen Trickfilms 29 1.5 Der Puppentrickfilm 33 2. Historie und Disposition der 3-D-computerbasierten Bilderzeugung 37 2.1 Computergrafik 37 2.2 3-D-Computergrafik 38 2.3 3-D-Computeranimation 44 2.4 Entwicklungsgeschichtlicher Zusammenhang von Film und Computer 45 2.5 Der vollständig computergenerierte Trickfilm 52 2.6 Der abendfüllende computergenerierte Spielfilm 55 3. Disposition des Computers in der Trickfilmproduktion 57 3.1 CGI im filmwissenschaftlichen Diskurs 57 3.2 Algorithmisierung 58 3.3 Stationen der CG-Produktionslinie 61 3.4 Exkurs: Die 3-D-Applikation 3ds max 71 4. Arbeitsfelder der computergenerierten Inszenierungsforschung 81 4.1 Figuration 83 4.2 Umgebung 105 4.3 Kamera 126 4.4 Licht und Beleuchtung 152 4.5 Animation 173 5. Der Wirkungszusammenhang der mise-en-scène-Aspekte in der CGI 201 6. Analyse ausgewählter Filmbeispiele 207 7. Tendenzen des vollständig gerenderten Spielfilms 233 8. Klassifizierung des CG-Films im Diskurs 237 8.1 Theorie der Hybridisierung 237 8.2 Theorie der Simulation 240 8.3 Definition Animationsfilm 241 9. Schlussbetrachtungen 247 10. Ausblick 255 Appendix I: Glossar 257 Appendix II: Verzeichnis der erwähnten Kurz- und Spielfilme (Filmografie) 265 Appendix III: Literatur 287 DANKSAGUNG Mein besonderer Dank gilt Prof. Dr. Lutz Ellrich, der sich meines schwierigen Themas zu betreuen angenommen hat. Ich danke allen Freunden sowie den Kolleginnen und Kollegen der Universität zu Köln und Dr. Johanna Dahm, deren Anregungen für dieses Projekt nützlich waren. Zu guter Letzt danke ich meinen Eltern, die mich in meinem Pro- jekt tatkräftig unterstützt haben. Meinen Eltern gewidmet Kürzlich sah ich im Fernsehen eine Talk-Show. Carlo Rambaldi, der ›Vater‹ von E.T., erklärte dort, daß es heute möglich sei, einen ganzen Film nur mit dem Computer herzustellen, ohne Kamera, ohne Licht, ohne Tonband und ohne Schauspieler. Eine Schauspielerin, ebenfalls Gast in der Talk-Show, fragte be- sorgt, ob es denn zutreffe, dass man sich dank des Computers bestehender Bil- der von z.B. Marilyn Monroe bedienen könne, um diese in immer neuen Filmen spielen zu lassen. Rambaldis Antwort: ›Das alles ist möglich.‹ Darauf sagte die Schauspielerin kein einziges Wort mehr. Doch sie hätte nicht so besorgt sein müssen, denn auch im Kino der Zukunft wird jeder diejenige Methode anwen- den, die ihm zusagt (Beltrami 1992: 29). VORBEMERKUNG Würde man mich nach meiner Motivation für die vorliegende Arbeit fra- gen, so würde ich antworten, dass ich aufgrund meiner langjährigen be- ruflichen Tätigkeit als 3-D-Artist mit Autodesk 3ds max ein beinahe drängendes Bedürfnis verspüre, dem filmwissenschaftlichen Diskurs um- fangreiche Einblicke zu gewähren; Einblicke, die eine Verwandtschaft der Computerbilder zum Film bekräftigen; Einblicke, die das Technisch- Programmatische des Computers entrümpeln; Einblicke, um den postmo- dernen Begriff der expandierenden ›Computeranimation‹ als Teil der filmischen Kinematografie begrifflich nicht zu verlieren; Einblicke, die für die Filmwissenschaft nützlich sein können. Als Computeranimation ist die 3-D-Computeranimation gemeint, die Filmbilder einer virtuellen Räumlichkeit generiert, mit denen die In- szenierung eines vollständig 3-D-computergenerierten Spielfilms mög- lich wird und seit 1995 von Hollywood als neuzeitliche Gattung prakti- ziert wird. Alle in dieser Arbeit erwähnten, abendfüllenden Spielfilme sind in- tersubjektiv rezipierbar, da sie auf Videokassette bzw. DVD im Handel erhältlich sind. Abbildung 1: Werbegrafik zu Toy Story (USA 1995, Regie: John Lasseter) EINLEITUNG Die Geschichte des Animationsfilms ist genauso alt wie die des live-ac- tion-Films und erhält nach genau einhundert Jahren klassischer Zeichen- trick- und Puppentrickanimationskunst 1995 mit der Veröffentlichung des ersten vollständig am Computer generierten Trickfilms Toy Story (USA 1995, Regie: John Lasseter) eine neue Ausprägung, nämlich die des computergenerierten Trickfilms. Neuartig sind dabei die Methoden der Inszenierung von Figuren, Setting, Kamera und Beleuchtung, die ausschließlich computerbasiert sind. Den Rezipienten erwarten auf der Kinoleinwand per Computer errechnete Bilder, die nicht mehr Fotogra- fien von Zeichnungen oder Puppen entstammen, sondern als Resultat ei- nes zugrundeliegenden dreidimensionalen, virtuellen1 Modells erzeugt werden. In der 3-D-Computergrafik (computer-generated imagery (CGI), vgl. Furniss 1999: 178) lassen sich virtuelle Modelle in drei Dimensionen darstellen, was den Begriff 3-D-Grafik prägt. Spricht man darüber hinaus von 3-D-Computeranimation, so versteht der Diskurs zunächst die unter dem Sammelbegriff Trickfilm etablierte Illusion einer Bewegung, die speziell in der 3-D-computerbasierten Animation bewegten Objektgeo- metrien innerhalb eines dreidimensionalen virtuellen Raums entstammen. Der konventionelle Trickfilm erhält somit ein Pendant durch die digital arbeitende Computertechnik, mit der durch Unterstützung von 3-D-Soft- wareapplikationen Werkzeuge zur Hand gegeben werden, die seit Mitte der 90er Jahre einen abendfüllenden Spielfilm in tradierter Hollywood- dramaturgie2 erwarten lassen können. Bis zum Stand der vorliegenden Erhebung 2006 sind seit Toy Story 1995 nun beinahe zwei Dutzend com- putergenerierter Spielfilme in deutschen Kinos aufgeführt worden. Diese Arbeit unternimmt es, die Gebiete der 3-D-computergenerier- ten Trickfilminszenierung auszudifferenzieren, in denen der Computer 1 ›Virtuell‹ soll hier wie folgt definiert werden: »[I]n digitaler Form ge- speichert und nur durch technische Hilfsmittel erfahrbar« (Diemers 2002: 28). 2 Der im Diskurs oft dichotomisierte Hollywood-Begriff soll hier unverändert übernommen werden: er soll ökonomisch als die in Los Angeles ansässige Filmindustrie verstanden werden, bestehend aus einer Ansammlung von Filmproduktionen und -distributoren, sowie als »die stilistischen Grund- muster des kommerziellen amerikanischen Films« (Blanchet 2003: 79). 13 DER COMPUTERANIMIERTE SPIELFILM zum Einsatz kommt und die sich somit von Inszenierungsmethoden tra- dierter Trickfilme zu unterscheiden beginnen. Im Rahmen dieser Insze- nierungsforschung soll der Zusammenhang von Ursachen und Wir- kungsweisen der computergenerierten Spielfilme dargestellt werden, um Wirkungsfelder nicht nur symptomatisch beschreibbar, sondern auch kausal erklärbar werden zu lassen. Es wird aufgezeigt, mit welchen Prä- dikaten sich Computergrafik zu einer Trickfilmgattung3 etabliert, die als mise-en-scène auf den Gebieten Figuration, Umgebung, Kamera, Licht, Bewegung erscheint. In diesen Arbeitsfeldern der Trickfilminszenierung löst der Computer tradierte Gebiete des Trickfilms ab und inszeniert mit Hilfe der 3-D-Softwareapplikation selbst. In der Zeit der Digitalisierung sollte der postmoderne, computergene- rierte Film zu umfangreichen filmwissenschaftlichen Analysen Anlass geben können, doch trotz zunehmender Computerisierung von Medien und Film, einer digital entstehenden Trickfilmgattung und interdiszipli- när werdenden Tätigkeitsfeldern von 3-D-Grafikern und -Artists be- schreitet die bisherige wissenschaftliche Analyse computergenerierter Spielfilme vergleichsweise nur eng abgegrenzte Territorien. Die Film- wissenschaft orientiert sich auf dem Gebiet der CGI – was natürlich auch naheliegend ist – größtenteils nach empirisch angelegten Ausdifferenzie- rungsmaßstäben. Erschwerend wirkt sich hierbei zunächst aus, dass die Ästhetik computergenerierter Bilder – basierend auf ihrer technischen Entwicklung – einem ständigen Veränderungsprozess unterworfen ist, so dass Untersuchungen, die älter als 10 Jahre sind, als obsolet gelten kön- nen, und dass deren Wirkungsbeschreibungen nur auf ihren Erhebungs- zeitraum, aber nicht mehr auf die gegenwärtig veröffentlichten Spiel- filme avanciert anwendbar sind. Außerhalb der Filmwissenschaft stellen Computergrafiken und computergenerierte Filme durchaus einen Analy- segegenstand von z.B. Computerwissenschaften dar, doch werden Re- zensionen meist marginal behandelt und zudem oft terminologisch auf ein Informatikniveau verschoben. Um Ungereimtheiten in der
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