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Doktori Disszertáció Varga Zoltán a Műfajiság Kérdése Az Animációs Filmben

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Doktori Disszertáció Varga Zoltán a Műfajiság Kérdése Az Animációs Filmben EÖTVÖS LORÁND TUDOMÁNYEGYETEM BÖLCSÉSZETTUDOMÁNYI KAR DOKTORI DISSZERTÁCIÓ VARGA ZOLTÁN A MŰFAJISÁG KÉRDÉSE AZ ANIMÁCIÓS FILMBEN FILOZÓFIATUDOMÁNYI DOKTORI ISKOLA, VEZETŐ:PROF.DR.KELEMEN JÁNOS CMHAS., EGYETEMI TANÁR FILM-, MÉDIA- ÉS KULTÚRAELMÉLETI DOKTORI PROGRAM, VEZETŐ: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 TÉMAVEZETŐ ÉS TUDOMÁNYOS FOKOZATA: DR.VAJDOVICH GYÖRGYI PHD., EGYETEMI ADJUNKTUS BUDAPEST, 2011 2 TARTALOMJEGYZÉK I. A MŰFAJ ÉS AZ ANIMÁCIÓS FILM FOGALMA...........................................................5 1. A műfajfogalom értelmezése és alkalmazása a filmben.......................................................5 1.1. A műfaj fogalma (szemantikája és pragmatikája) általában ..............................................5 1.2. A műfaj fogalma a művészetekben ..................................................................................7 1.3. A filmműfajjal kapcsolatos alapproblémák ......................................................................9 1.4. A filmműfaj meghatározásának lehetőségei ...................................................................13 1.5. A műnem kérdései az irodalomban és a filmben.............................................................16 1.6. A filmműfajok nyitottsága és intermedialitása................................................................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 művészetek – az animáció intermediális megközelítése .............47 2.4. Animáció és mozgókép – az élőszereplős film közelében s távol tőle.............................53 2.5. Az animációs film helye a mozgóképi szövegek rendszerében .......................................59 3. A műfajiság kérdése az animációs filmben........................................................................66 3.1. Az animációs film nem műfaj ........................................................................................66 3.2. Az animációs film műfaji tagolásának lehetőségei .........................................................67 3.3. Az animációs műfajok lehatárolásának problémái..........................................................69 3.4. Az animáció és a műfajiság vizsgálata elé......................................................................76 II. A TÖMEGFILMES MŰFAJOK AZ ANIMÁCIÓS FILMBEN .......................................80 1. A bűnügyi műfajok 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 rendőrfilm ...........................................................................................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 műfajcsoportja az animációs filmben......................................................108 2.1. A fantasztikus műfajok és az animáció kapcsolata .......................................................108 2.1. a) A fantasztikum műfajcsoportja.................................................................................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 látványteremtő tendenciáinak kapcsolata az animációval ...........................................................................................................................................123 2.3. A horror és az animáció ...............................................................................................139 2.3. a) A horror műfajának 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 jellemző 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 életműve ....................174 3.3. Paródia és animáció .....................................................................................................181 3.3. a) Az animációs paródia főbb tendenciái......................................................................181 3.3. b) Műfajparódiák a Wallace és Gromit-sorozatban.......................................................183 3.3. c) Animációs változatok a szuperhősfilm-paródiára .....................................................189 3.3. d) Parodisztikus műfajhalmozás az animációban..........................................................196 III. ÖSSZEFOGLALÁS ÉS KONKLÚZIÓ: A MŰFAJISÁG ÉS AZ ANIMÁCIÓS FILM 207 1. A tömegfilmes műfajok átvételének tendenciái ...............................................................207 4 1. a) Az antropomorfizmus szerepe a műfajok átvételében..................................................208 1. b) Az animációs eszközök és/vagy a műfaji követelmények működtetésének korlátozása ...........................................................................................................................................209 1. c) Az animációs eszközök és/vagy a műfaji követelmények működtetésének fölerősítése ...........................................................................................................................................211 2. Konklúzió és kitekintés – a műfajiság kérdése az animációs film aspektusából ...............213 2. a) A műfajiság mint technikától független jelenség.........................................................213 2. b) A mozgóképes műfajtipológia újragondolása felé.......................................................214 Filmográfia.........................................................................................................................216 Bibliográfia ........................................................................................................................232 5 I. A MŰFAJ ÉS AZ ANIMÁCIÓS FILM FOGALMA 1. A műfajfogalom értelmezése és alkalmazása a filmben 1.1. A műfaj fogalma (szemantikája és pragmatikája) általában A műfaj fogalmának vizsgálatához elengedhetetlen, hogy elhatároljuk, ez a fogalom miként értelmezhető a köznyelvben, illetőleg az egzaktabb fogalomhasználatot szem előtt tartó művészetelméletben – az irodalom elméletétől kezdve a filmen át a képzőművészetig és a zenéig. Mit jelent tehát a műfaj elnevezése, és segítségével mi érthető meg? Ez a kifejezés
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