A Műfajiság Kérdése Az Animációs Filmben

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A Műfajiság Kérdése Az Animációs Filmben EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ VARGA ZOLTÁN A 0ĥ)A-ISÁG KÉRDÉSE AZ ANIMÁCIÓS FILMBEN FILOZÓFIATUDOMÁNYI DOKTORI ISKOLA, VEZETė:PROF.DR.KELEMEN JÁNOS CMHAS., EGYETEMI TANÁR FILM-, MÉDIA- ÉS KULTÚRAELMÉLETI DOKTORI PROGRAM, VEZETė:DR.GYÖRGY PÉTER DSC., EGYETEMI TANÁR A BIZOTTSÁG TAGJAI ÉS TUDOMÁNYOS FOKOZATUK: A BIZOTTSÁG ELNÖKE: DR.KOVÁCS ANDRÁS BÁLINT DSC., EGYETEMI TANÁR HIVATALOSAN FELKÉRT BÍRÁLÓK: DR.HIRSCH TIBOR PHD., EGYETEMI DOCENS DR.FÜZI IZABELLA PHD., EGYETEMI ADJUNKTUS A BIZOTTSÁG TITKÁRA: DR.PÁPAI ZSOLT PHD., EGYETEMI TANÁRSEGÉD A BIZOTTSÁG TOVÁBBI TAGJAI: DR.SÁGHY MIKLÓS PHD., EGYETEMI ADJUNKTUS DR.VINCZE TERÉZ PHD., EGYETEMI ADJUNKTUS TÉMAVEZETė ÉS TUDOMÁNYOS FOKOZATA: DR.VAJDOVICH GYÖRGYI PHD., EGYETEMI ADJUNKTUS BUDAPEST, 2011 2 TARTALOMJEGYZÉK I. A MĥFAJ ÉS AZ ANIMÁCIÓS FILM FOGALMA...........................................................5 1. A PĦIDMIRJDORP pUWHOPH]pVH pV DONDOPD]iVD D ILOPEHQ.......................................................5 1.1. A PĦIDM IRJDOPD V]HPDQWLNiMD pV SUDJPDWLNiMD iOWDOiEDQ ..............................................5 1.2. A PĦIDM IRJDOPD D PĦYpV]HWHNEHQ ..................................................................................7 1.. A ILOPPĦIDMMDO NDSFVRODWRV DODSSUREOpPiN ......................................................................9 1.. A ILOPPĦIDM PHJKDWiUR]iViQDN OHKHWĘVpJHL ...................................................................13 1.5. A PĦQHP NpUGpVHL D] LURGDORPEDQ pV D ILOPEHQ.............................................................16 1.6. A ILOPPĦIDMRN Q\LWRWWViJD pV LQWHUPHGLDOLWiVD................................................................22 2. Az animációs film megközelítése......................................................................................27 2.1. Az animáció mint technika.............................................................................................27 2.1. a) Az animációs film mint speciális felvételi technikán alapuló filmtípus.......................27 2.1. b) Az animációs illúzió két arca: aprólékos munka és varázslat......................................31 2.2. Az animációs film esztétikájának körvonalazása............................................................33 2.2. a) Világalkotás és mesterségesség..................................................................................33 2.2. b) Az animációs film formatipológiája...........................................................................38 2.3. Az animációs film és a mĦvészetek – az animáció intermediális megközelítése .............47 2.4. Animáció és mozgókép – az élĘszereplĘs film közelében s távol tĘle.............................53 2.5. Az animációs film helye a mozgóképi szövegek rendszerében .......................................59 3. A mĦfajiság kérdése az animációs filmben........................................................................66 3.1. Az animációs film nem mĦfaj ........................................................................................66 3.2. Az animációs film mĦfaji tagolásának lehetĘségei .........................................................67 3.3. Az animációs mĦfajok lehatárolásának problémái..........................................................69 3.4. Az animáció és a mĦfajiság vizsgálata elé......................................................................76 II. A TÖMEGFILMES MĥFAJOK AZ ANIMÁCIÓS FILMBEN .......................................80 1. A bĦngyi mĦfajok csoportja az animációs filmben..........................................................80 1.1. A krimi és az animációs film..........................................................................................81 1.1. a) A klasszikus detektív animációs megjelenése.............................................................82 1.1. b) Az animációs rendĘrfilm ...........................................................................................85 1.2. Az animációs film és a thriller .......................................................................................87 1.2. a) A thriller animációs megszelídítése............................................................................89 3 1.2. b) Pszichothriller és animáció ........................................................................................91 1.3. Film noir és animáció: Rajzfilm noir..............................................................................96 1.3. a) Noir-rajzfilmsorozatok...............................................................................................99 1.3. b) A rajzfilm noir egészestés verziói ............................................................................102 2. A fantasztikum mĦfajcsoportja az animációs filmben......................................................108 2.1. A fantasztikus mĦfajok és az animáció kapcsolata .......................................................108 2.1. a) A fantasztikum mĦfajcsoportja.................................................................................108 2.1. b) Fantasztikum és animáció kapcsolatának paradoxonai .............................................111 2.2. Science fiction és fantasy az animációs filmben...........................................................114 2.2. a) A science fiction és a fantasy valóságkoncepciója animációs filmekben...................114 2.2. b) A science fiction és a fantasy látványteremtĘ tendenciáinak kapcsolata az animációval ...........................................................................................................................................123 2.3. A horror és az animáció ...............................................................................................139 2.3. a) A horror mĦfajának kétarcúsága ..............................................................................139 2.3. b) A horror és az animáció kapcsolatának kommentálásai............................................140 2.3. c) A testek destrukciója és dekomponálása a horrorban és az animációban...................141 2.3. d) Az átváltozás mozzanata a horrorban és az animációban..........................................147 2.3. e) A bábanimáció és a kísérteties .................................................................................152 3. Animáció és vígjáték ......................................................................................................160 3.1. Animáció és vígjáték kapcsolatáról általában ...............................................................160 3.1. a) Nevetés és vígjáték ..................................................................................................160 3.1. b) Animáció és vígjáték összekapcsolódásának lehetséges okai és jellemzĘ tendenciái 163 3.2. Burleszk és animáció ...................................................................................................168 3.2. a) A burleszk öröksége a rajzfilmben ...........................................................................168 3.2. b) A rajzfilmburleszk kiteljesedése: Tex Avery és Chuck Jones életmĦve ....................174 3.3. Paródia és animáció .....................................................................................................181 3.3. a) Az animációs paródia fĘbb tendenciái......................................................................181 3.3. b) MĦfajparódiák a Wallace és Gromit-sorozatban.......................................................183 3.3. c) Animációs változatok a szuperhĘsfilm-paródiára .....................................................189 3.3. d) Parodisztikus mĦfajhalmozás az animációban..........................................................196 III. ÖSSZEFOGLALÁS ÉS KONKLÚZIÓ: A MĥFAJISÁG ÉS AZ ANIMÁCIÓS FILM 207 1. A tömegfilmes mĦfajok átvételének tendenciái ...............................................................207 4 1. a) Az antropomorfizmus szerepe a mĦfajok átvételében..................................................208 1. b) Az animációs eszközök ésvagy a mĦfaji követelmények mĦködtetésének korlátozása ...........................................................................................................................................209 1. c) Az animációs eszközök ésvagy a mĦfaji követelmények mĦködtetésének fölerĘsítése ...........................................................................................................................................211 2. Konklúzió és kitekintés – a mĦfajiság kérdése az animációs film aspektusából ...............213 2. a) A mĦfajiság mint technikától fggetlen jelenség.........................................................213 2. b) A mozgóképes mĦfajtipológia újragondolása felé.......................................................214 Filmográfia.........................................................................................................................216 Bibliográfia ........................................................................................................................232 5 I. A MĥFAJ ÉS AZ ANIMÁCIÓS FILM FOGALMA 1. A PĦIDMIRJDORP pUWHOPH]pVH pV DONDOPD]isa a filmben 1.1. A mĦfaM fRJalma s]emanWiNiMa ps SUaJmaWiNiMa ilWaliban A mĦfaj fogalmának vizsgálatához elengedhetetlen, hogy elhatároljuk, ez a fogalom miként értelmezhetĘ a köznyelvben, illetĘleg az egzaktabb fogalomhasználatot szem elĘtt tartó mĦvészetelméletben – az irodalom elméletétĘl kezdve a filmen át a képzĘmĦvészetig és a zenéig. Mit jelent tehát a mĦIaM elnevezése, és segítségével mi érthetĘ meg? Ez a kifejezés nem
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