动画论文外文翻译
动画设计电视广告论文中英文外文翻译文献
动画设计电视广告论文中英文外文翻译文献Copywriting for Visual MediaBefore XXX。
and film advertising were the primary meansof advertising。
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local ads can still be seen in some movie theaters before the start of the program。
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service ads。
and XXX a specific product。
while service ads promote a specific service。
nal ads。
on theother hand。
promote an entire company or industry。
PSAs。
on the other hand。
are mercial messages that aim to educate andinform the public on important issues such as health。
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and social XXX.⑶The Power of Visual AdvertisingXXX。
The use of colors。
动画设计外文文献翻译
文献出处：Amidi, Amid. Cartoon modern: style and design in fifties animation. Chronicle Books, (2006):292-296.原文Cartoon Modern: Style and Design in Fifties AnimationAmidi, AmidDuring the 1970s,when I was a graduate student in film studies, UPA had a presence in the academy and among cinephiles that it has since lost. With 16mmdistribution thriving and the films only around twenty years old, one could still see Rooty Toot Toot or The Unicorn in the Garden occasionally. In the decades since, UPA and the modern style it was so central in fostering during the 1950s have receded from sight. Of the studio's own films, only Gerald McBoing Boing and its three sequels have a DVD to themselves, and fans must search out sources for old VHScopies of others. Most modernist-influenced films made by the less prominent studios of the era are completely unavailable.UPA remains, however, part of the standard story of film history. Following two decades of rule by the realist-oriented Walt Disney product, the small studio boldly introduced a more abstract, stylized look borrowed from modernism in the fine arts. Other smaller studios followed its lead. John Hubley, sometimes in partnership with his wife Faith, became a canonical name in animation studies. But the trend largely ended after the 1950s. Now its importance is taken for granted. David Bordwell and I followed the pattern by mentioning UPA briefly in our Film History: An Introduction, where we reproduce a black-and-white frame from the Hubleys' Moonbird, taken from a worn 16 mm print. By now, UPA receives a sort of vague respect, while few actually see anything beyond the three or four most famous titles.All this makes Amid Amidi's Cartoon Modern an important book. Published in an attractive horizontal format well suited to displaying film images, it provides hundreds of color drawings, paintings, cels, storyboards, and other design images from 1950s cartoons that display the influence of modern art. Amidi sticks to the U.S. animation industry and does not cover experimental work or formats other than cel animation. The book brings the innovative style of the 1950s back to our attention and provides a veritable archive of rare, mostly unpublished images for teachers, scholars, and enthusiasts. Seeking these out and making sure that they reproduced well, with a good layout and faithful color, was a major accomplishment, and the result is a great service to the field.The collection of images is so attractive, interesting, and informative, that it deserved an equally useful accompanying text. Unfortunately, both in terms of organization and amount of information provided, the book has major textual problems.Amidi states his purpose in the introduction: "to establish the place of 1950s animation design in the great Modernist tradition of the arts". In fact, he barely discusses modernism across the arts. He is far more concerned with identifying the individual filmmakers, mainly designers, layout artists, and directors, and with describing how the more pioneering ones among them managed to insert modernist style into the products of what he sees as the old-fashioned, conservative animation industry of the late 1940s. When those filmmakers loved jazz or studied at an art school or expressed an admiration for, say, Fernand Léger, Amidimentions it. He may occasionally refer to Abstract Expressionism or Pop Art, but he relies upon the reader to come to the book already knowing the artistic trends of the twentieth century in both America and Europe. At least twice he mentions that Gyorgy Kepes's important1944 book The Language of Vision was a key influence on some of the animators inclined toward modernism, but he never explains what they might have derived from it. There is no attempt to suggest how modernist films (e.g. Ballet mécanique, Das Cabinet des Dr. Caligari) might have influenced those of Hollywood. On the whole, the other arts and modernism are just assumed, without explanation or specification, to be the context for these filmmakers and films.There seem to me three distinct problems with Amidi's approach: his broad, all-encompassing definition of modernism; his disdain for more traditional animation, especially that of Disney; and his layout of the chapters.For Amidi, "modern" seems to mean everything from Abstract Expressionism to stylized greeting cards. He does not distinguish Cubism from Surrealism or explain what strain of modernism he has in mind. He does not explicitly lay out a difference between modernist-influenced animation and animation that is genuinely a part of modern/modernist art. Thus there is no mention of figures like Oskar Fischinger and Mary Ellen Bute, though there seems a possibility that their work influenced the mainstream filmmakers dealt with in the book.This may be because Amidi sees modernism's entry into American animation only secondarily as a matter of direct influences from the other arts. Instead, for him the impulse toward modernism is as a movement away from conventional Hollywood animation. Disney is seen as having during the 1930s and 1940s established realism as the norm, so anything stylized would count as modernism. Amidi ends up talking about a lot of rather cute, appealing films as if they were just as innovative as the work of John Hubley. At one point he devotes ten pages to the output of Playhouse Pictures, a studio that made television ads which Amidi describes as "mainstream modern" because "it was driven by a desire to entertain and less concerned withmaking graphic statements". I suspect Playhouse rates such extensive coverage largely because its founder, Adrian Woolery, had worked as a production manager and cameraman at UPA. At another point Amidi refers to Warner Bros. animation designer Maurice Noble's work as "accessible modernism".This willingness to cast the modernist net very wide also helps explain why so many conventional looking images from ads are included in the book. Amidi seems not to have considered the idea that there could be a normal, everyday stylization that has a broad appeal and might have derived ultimately from some modernist influence that had filtered out, not just into animation, but into the culture more generally.There was such a popularization of modern design in the 1940s and especially the 1950s, and it took place across many areas of American popular culture, including architecture, interior design, and fashion. Thomas Hine has dealt with it in his 1999 book, Populuxe: From Tailfins and TV Dinners to Barbie Dolls and Fallout Shelters. Hines doesn't cover film, but the styles that we can see running through the illustrations in Cartoon Modern have a lot in common with those in Populuxe. Pixar pays homage to them in the design of The Incredibles.Second, Amidi seeks to establish UPA's importance by casting Walt Disney as his villain. Here Disney stands in for the whole pre-1950s Hollywood animation establishment. For the author, anything that isn't modern style is tired and conservative. His chapter on UPA begins with an anecdote designed to drive that point home. It describes the night in 1951 when Gerald McBoing Boing won the Oscar for best animation of 1950, while Disney, not even nominated in the animation category, won for his live-action short, Beaver Valley. UPA president Stephen Bosustow and Disney posed together, with Bosustow described as looking younger and fresher than his older rival. Disney was only ten years older, but to Amidi,Bosustow's "appearance suggests the vitality and freshness of the UPA films when placed against the tired Disney films of the early 1950s".That line perplexed me. True, Disney's astonishing output in the late 1930s and early 1940s could hardly be sustained, either in quantity or quality. But even though Cinderella (a relatively lightweight item) and the shorts become largely routine, few would call Peter Pan, Alice in Wonderland, and Lady and the Tramp tired. Indeed, the two Disney features that Amidi later praises for their modernist style, Sleeping Beauty and One Hundred and One Dalmatians, are often taken to mark the beginning of the end of the studio's golden age.In Amidi's view, other animation studios, including Warner Bros., were similarly resistant to modernism on the whole, though there were occasional chinks in their armor. The author selectively praises a few individual innovators. A very brief entry on MGM mentions Tex Avery, mainly for his 1951 short, Symphony in Slang. Warner Bros.' Maurice Noble earns Amidi's praise; he consistently provided designs for Chuck Jones's cartoons, most famously What's Opera, Doc?The book's third problem arises from the decision to organize it as a series of chapters on individual animation studios arranged alphabetically. There's at least some logic to going in chronological order or thematically, or even by the studios in order of their importance. Alphabetical is arbitrary, rendering the relationship between studios haphazard. An unhappy byproduct of this strategy is that the historically most salient studios come near the end of the alphabet. After chapters on many small, mostly unfamiliar studios, we at last reach the final chapters: Terrytoons, UPA, Walt Disney, Walter Lantz, Warner Bros. Apart from Lantz, these are the main studios relevant to the topic at hand. Amidi prepares the reader with only a brief introduction and no overview, so there is no setup of why UPA is so important or what contextDisney provided for the stylistic innovations that are the book's main subject.译文现代卡通，50年代的动画风格和设计Amidi, Amid在20世纪70年代，当我还是一个电影专业的研究生时，美国联合制片公司UPA就受到了学院和影迷们的关注。
论文外文文献翻译流程
论文外文文献翻译流程论文外文文献翻译是研究工作中常见的一项任务，其流程可以分为以下几个步骤：1. 选择文献：首先，需要从相关学术期刊、会议论文集或其他学术资源中选择适合自己研究方向的外文文献。
在选择时，要根据研究目的和问题确定文献的质量和可靠性，以确保所选文献具有较高的学术价值。
2. 阅读理解：在开始翻译之前，要对选定的外文文献进行仔细阅读和理解。
这包括理解文献的结构和核心内容，获取对于自己研究的重要信息和观点。
3. 翻译规划：在开始翻译之前，需要制定一个翻译计划。
这包括确定翻译的时间安排、分工和所需的翻译工具，以确保翻译的高效进行。
4. 翻译过程：在翻译过程中，可以采用逐句翻译的方式，将原文逐句翻译成目标语言，注意保持原文的准确性和清晰度。
如果遇到词汇或表达不明确的地方，需要进行相关的查询和澄清。
在翻译过程中，还要注意语法和句子结构的准确性，以确保翻译的流畅度和可读性。
5. 校对修改：在完成翻译后，需要进行校对和修改。
在这个阶段，要比对原文和译文，检查译文的准确性和信息的完整性。
如果发现有任何错误或不完善之处，需要进行相应的修改和调整。
6. 审稿意见：在完成校对修改后，可以邀请一些专业人士或同行进行审稿。
他们可以对翻译的准确性和语言的表达提出宝贵的意见和建议，以进一步提高翻译质量。
7. 格式调整：在翻译完成后，需要对文献进行格式调整。
这包括调整字体、段落、标点和引用等格式，以符合目标语言的学术写作要求。
8. 最终定稿：最后一步是最终定稿，将翻译后的外文文献整理成最终的版本。
在这个阶段，要检查文献的所有细节，确保没有任何错误和遗漏。
整个外文文献翻译流程需要仔细和耐心地进行，以确保翻译的准确性和质量。
熟悉外文学术规范和术语的使用是提高翻译效果的关键。
并且，要合理利用翻译工具和辅助资源，提高翻译的效率和准确性。
最终的翻译成果将为研究工作提供重要的支持和参考。
3d动画制作中英文对照外文翻译文献
3d动画制作中英文对照外文翻译文献预览说明:预览图片所展示的格式为文档的源格式展示,下载源文件没有水印,内容可编辑和复制中英文对照外文翻译文献(文档含英文原文和中文翻译)Spin: A 3D Interface for Cooperative WorkAbstract: in this paper, we present a three-dimensional user interface for synchronous co-operative work, Spin, which has been designed for multi-user synchronous real-time applications to be used in, for example, meetings and learning situations. Spin is based on a new metaphor of virtual workspace. We have designed an interface, for an office environment, which recreates the three-dimensional elements needed during a meeting and increases the user's scope of interaction. In order to accomplish these objectives, animation and three-dimensional interaction in real time are used to enhance the feeling of collaboration within the three-dimensional workspace. Spin is designed to maintain a maximum amount of information visible. The workspace is created using artificial geometry - as opposed to true three-dimensional geometry - and spatial distortion, a technique that allows all documents and information to be displayed simultaneously while centering the user's focus of attention. Users interact with each other via their respective clones, which are three-dimensional representations displayed in each user's interface, and are animated with user action on shared documents. An appropriate object manipulation system (direct manipulation, 3D devices and specific interaction metaphors) is used to point out and manipulate 3D documents.Keywords: Synchronous CSCW; CVE; Avatar; Clone; Three-dimensional interface; 3D interactionIntroductionTechnological progress has given us access to fields that previously only existed in our imaginations. Progress made in computers and in communication networks has benefited computer-supported cooperative work (CSCW), an area where many technical and human obstacles need to be overcome before it can be considered as a valid tool. We need to bear in mind the difficulties inherent in cooperative work and in the user's ability to perceive a third dimension.The Shortcomings of Two- Dimensional InterfacesCurrent WIMP (windows icon mouse pointer) office interfaces have considerable ergonomic limitations [1].(a) Two-dimensional space does not display large amounts of data adequately. When it comes to displaying massive amounts of data, 2D displays have shortcomings such as window overlap and the need for iconic representation of information [2]. Moreover, the simultaneous display of too many windows (the key symptom of Windowitis) can be stressful for users [3].(b) WIMP applications are indistinguishable from one another; leading to confusion. Window dis- play systems, be they XII or Windows, do not make the distinction between applications, con- sequently, information is displayed in identical windows regardless of the user's task.(c) 2D applications cannot provide realistic rep- resentation. Until recently, network technology only allowed for asynchronous sessions (electronic mail for example); and because the hardware being used was not powerful enough, interfaces could only use 2D representations of the workspace.Metaphors in this type of environment do not resemble the real space; consequently, it is difficult for the user to move around within a simulated 3D space.(d) 2D applications provide poor graphical user representations. As windows are indistinguish- able and there is no graphical relation between windows, it is difficult to create a visual link between users or between a user and an object when the user's behavior is been displayed [4].(e) 2D applications are not sufficiently immersive, because 2D graphical interaction is not intuitive (proprioception is not exploited) users have difficulties getting and remaining involved in the task at hand.Interfaces: New ScopeSpin is a new interface concept, based on real-time computer animation. Widespread use of 3D graphic cards for personal computers has made real-time animation possible on low-cost computers. The introduction of a new dimension (depth) changes the user's role within the interface, the use of animation is seamless and therefore lightens the user's cognitive load. With appropriate input devices, the user now has new ways of navigating in, interacting with and organizing his workspace. Since 1995, IBM has been working on RealPlaces [5], a 3D interface project. It was developed to study the convergence between business applications and virtual reality. The user environment in RealPlaces is divided into two separate spaces (Fig, 1): ? a 'world view', a 3D model which stores and organizes documents through easy object interaction;a 'work plane', a 2D view of objects with detailed interaction, (what is used in most 2D interfaces).RealPlaces allows for 3D organization of a large number ofobjects. The user can navigatethrough them, and work on a document, which can be viewed and edited in a 2D application that is displayed in the foreground of the 'world'. It solves the problem of 2D documents in a 3D world, although there is still some overlapping of objects. RealPtaces does solve some of the problems common to 2D interfaces but it is not seamless. While it introduces two different dimensions to show documents, the user still has difficulty establishing links between these two dimensions in cases where multi-user activity is being displayed. In our interface, we try to correct the shortcomings of 2D interfaces as IBM did in RealPlaces, and we go a step further, we put forward a solution for problems raised in multi-user cooperation, Spin integrates users into a virtual working place in a manner that imitates reality making cooperation through the use of 3D animation possible. Complex tasks and related data can be represented seamlessly, allowing for a more immersive experience. In this paper we discuss, in the first part, the various concepts inherent in simultaneous distant cooperative work (synchronous CSCW), representation and interaction within a 3D interface. In the second part, we describe our own interface model and how the concepts behind it were developed. We conclude with a description of the various current and impending developments directly related to the prototype and to its assessment.ConceptsWhen designing a 3D interface, several fields need to be taken into consideration. We have already mentioned real-time computer animation and computer-supported cooperative work, which are the backbone of our project. There are also certain fields of the human sciences that have directty contributed to thedevelopment of Spin. Ergon- omics [6], psychology [7] and sociology [8] have broadened our knowIedge of the way in which the user behaves within the interface, both as an individual and as a member of a group.Synchronous Cooperative WorkThe interface must support synchronous cooper- ative work. By this we mean that it must support applications where the users have to communicate in order to make decisions, exchange views or find solutions, as would be the case with tele- conferencing or learning situations. The sense of co-presence is crucial, the user needs to have an immediate feeling that he is with other people; experiments such as Hydra Units [9] and MAJIC [10] have allowed us to isolate some of the aspects that are essential to multimedia interactive meetings.Eye contact." a participant should be able to see that he is being looked at, and should be able to look at someone else. ? Gaze awareness: the user must be able to estab- fish a participant's visual focus of attention. ? Facial expressions: these provide information concerning the participants' reactions, their acquiescence, their annoyance and so on. ? GesCures. ptay an important role in pointing and in 3D interfaces which use a determined set of gestures as commands, and are also used as a means of expressing emotion.Group ActivitySpeech is far from being the sole means of expression during verbal interaction [1 1]. Gestures (voluntary or involuntary) and facial expressions contribute as much information as speech. More- over, collaborative work entails the need to identify other people's points of view as well as their actions [1 2,1 3]. This requires defining the metaphors which witl enable users involvedin collaborative work to understand what other users are doing and to interact withthem. Researchers I1 4] have defined various communication criteria for representing a user in a virtual environment. In DIVE (Distributed Interactive Virtual Environment, see Fig. 2), Benford and Fahl6n lay down rules for each characteristic and apply them to their own system [1 5]. lhey point out the advantages of using a clone (a realistic synthetic 3D representation of a human) to represent the user. With a clone, eye contact (it is possible to guide the eye movements of a clone) as well as gestures and facial expressions can be controlled; this is more difficult to accomplish with video images. tn addition to having a clone, every user must have a telepointer, which is used to designate obiects that can be seen on other users' displays.Task-Oriented InteractionUsers attending a meeting must be abte to work on one or several shared documents, it is therefore preferable to place them in a central position in the user's field of vision, this increases her feeling of participation in a collaborative task. This concept, which consists of positioning the documents so as to focus user attention, was developed in the Xerox Rooms project [1 6]; the underlying principle is to prevent windows from overlapping or becoming too numerous. This is done by classifying them according to specific tasks and placing them in virtual offices so that a singIe window is displayed at any one (given) time. The user needs to have an instance of the interface which is adapted to his role and the way he apprehends things, tn a cooperative work context, the user is physically represented in the interface and has a position relative to the other members of the group.The Conference Table Metaphor NavigationVisually displaying the separation of tasks seems logical - an open and continuous space is not suitable. The concept of 'room', in the visual and in the semantic sense, is frequently encountered in the literature. It is defined as a closed space that has been assigned a single task.A 3D representation of this 'room' is ideal because the user finds himself in a situation that he is familiar with, and the resulting interfaces are friendlier and more intuitive.Perception and Support of Shared AwarenessSome tasks entail focusing attention on a specific issue (when editing a text document) while others call for a more global view of the activity (during a discussion you need an overview of documents and actors). Over a given period, our attention shifts back and forth between these two types of activities [17]. CSCW requires each user to know what is being done, what is being changed, where and by whom. Consequently, the interface has to be able to support shared awareness. Ideally, the user would be able to see everything going on in the room at all times (an everything visible situation). Nonetheless, there are limits to the amount of information that can be simultaneously displayed on a screen. Improvements can be made by drawing on and adopting certain aspects of human perception. Namely, a field of vision with a central zone where images are extremely clear, and a peripheral vision zone, where objects are not well defined, but where movement and other types of change can be perceived.Interactive Computer AnimationInteractive computer animation allows for two things: first, the amount of information displayed can be increased, andsecond, only a small amount of this information can be made legible [18,19]. The remainder of the information continues to be displayed but is less legible (the user only has a rough view of the contents). The use of specific 3D algorithms and interactive animation to display each object enables the user visually to analyse the data quickly and correctly. The interface needs to be seamless. We want to avoid abstract breaks in the continuity of the scene, which would increase the user's cognitive load.We define navigation as changes in the user's point of view. With traditional virtual reality applica- tions, navigation also includes movement in the 3D world. Interaction, on the other hand, refers to how the user acts in the scene: the user manipulates objects without changing his overall point of view of the scene. Navigation and interaction are intrinsically linked; in order to interact with the interface the user has to be able to move within the interface. Unfortunately, the existence of a third dimension creates new problems with positioning and with user orientation; these need to be dealt with in order to avoid disorienting the user [20].Our ModelIn this section, we describe our interface model by expounding the aforementioned concepts, by defining spatial organization, and finally, by explaining how the user works and collaborates with others through the interface.Spatial OrganizationThe WorkspaceWhile certain aspects of our model are related to virtual reality, we have decided that since our model iS aimed at an office environment, the use of cumbersome helmets or gloves is not desirable. Our model's working environment is non-immersive.Frequently, immersive virtual reality environments tack precision and hinder perception: what humans need to perceive to believe in virtual worlds is out of reach of present simulation systems [26]. We try to eliminate many of the gestures linked to natural constraints, (turning pages in a book, for example) and which are not necessary during a meeting. Our workspace has been designed to resolve navigation problems by reducing the number of superfluous gestures which slow down the user. In a maI-life situation, for example, people sitting around a table could not easily read the same document at the same time. To create a simple and convenient workspace, situations are analysed and information which is not indispensable is discarded [27]. We often use interactive computer animation, but we do not abruptly suppress objects and create new icons; consequently, the user no longer has to strive to establish a mental link between two different representations of the same object. Because visual recognition decreases cognitive load, objects are seamlessly animated. We use animation to illustrate all changes in the working environment, i.e. the arrival of a new participant, the telepointer is always animated. There are two basic objects in our workspace: the actors and the artefacts. The actors are representations of the remote users or of artificial assistants. The artefacts are the applications and the interaction tools.The Conference tableThe metaphor used by the interface is the con- ference table. It corresponds to a single activity (our task-oriented interface solves the (b) shortcoming of the 2D interface, see Introduction). This activity is divided spatially and semantically into two parts. The first is asimulated panoramic view on which actors and sharedapplications are displayed. Second, within this view there is a workspace located near the center of the simulated panoramic screen, where the user can easily manipulate a specific document. The actors and the shared applications (2D and 3D) are placed side by side around the table (Fig. 4), and in the interest of comfort, there is one document or actor per 'wail'. As many applications as desired may be placed in a semi-circle so that all of the applications remain visible. The user can adjust the screen so that the focus of her attention is in the center; this type of motion resembles head- turning. The workspace is seamless and intuitive,Fig, 4. Objects placed around our virtual table.And simulates a real meeting where there are several people seated around a table. Participants joining the meeting and additional applications are on an equal footing with those already present. Our metaphor solves the (c) shortcoming of the 2D interface (see Introduction),DistortionIf the number of objects around the table increases, they become too thin to be useful. To resolve this problem we have defined a focus-of-attention zone located in the center of the screen. Documents on either side of this zone are distorted (Fig.5). Distortion is symmetrical in relation to the coordinate frame x=0. Each object is uniformly scaled with the following formula: x'=l-(1-x) '~, O<x<l< bdsfid="116" p=""></x<l<>Where is the deformation factor. When a= 1 the scene is not distorted. When all, points are drawn closer to the edge; this results in centrally positioned objects being stretched out, while those in the periphery are squeezed towards the edge. This distortion is similar to a fish-eye with only one dimension [28].By placing the main document in the centre of the screen and continuing to display all the other documents, our model simulates a human field of vision (with a central zone and a peripheral zone). By reducing the space taken up by less important objects, an 'everything perceivable' situation is obtained and, although objects on the periphery are neither legible nor clear, they are visible and all the information is available on the screen. The number of actors and documents that it is possible to place around the table depends, for the most part, on screen resolution. Our project is designed for small meetings with four people for example (three clones) and a few documents (three for example). Under these conditions, if participants are using 17-inch, 800 pixels screens all six objects are visible, and the system works.Everything VisibleWith this type of distortion, the important applications remain entirely legible, while all others are still part of the environment. When the simulated panoramic screen is reoriented, what disappears on one side immediately reappears on the other. This allows the user to have all applications visible in the interface. In CSCW it is crucial that each and every actor and artefact taking part in a task are displayed on the screen (it solves the (a) shortcoming of 2D interface, see Introduction),A Focus-of-Attention AreaWhen the workspace is distorted in this fashion, the user intuitively places the application on which she is working in the center, in the focus-of- attention area. Clone head movements correspond to changes of the participants' focus of attention area. So, each participant sees theother participants' clones and is able to perceive their headmovements. It gives users the impression of establishing eye contact and reinforces gaze awareness without the use of special devices. When a participant places a private document (one that is only visible on her own interface) in her focus in order to read it or modify it, her clone appears to be looking at the conference table.In front of the simulated panoramic screen is the workspace where the user can place (and enlarge) the applications (2D or 3D) she is working on, she can edit or manipulate them. Navigation is therefore limited to rotating the screen and zooming in on the applications in the focus-of-attention zone.ConclusionIn the future, research needs to be oriented towards clone animation, and the amount of information clones can convey about participant activity. The aim being to increase user collaboration and strengthen the feeling of shared presence. New tools that enable participants to adopt another participant's point of view or to work on another participant's document, need to be introduced. Tools should allow for direct interaction with documents and users. We will continue to develop visual metaphors that will provide more information about shared documents, who is manipulating what, and who has the right to use which documents, etc. In order to make Spin more flexible, it should integrate standards such as VRML 97, MPEG 4, and CORBA. And finally, Spin needs to be extended so that it can be used with bigger groups and more specifically in learning situations.旋转：3D界面的协同工作摘要：本文提出了一种三维用户界面的同步协同工作—旋转，它是为多用户同步实时应用程而设计，可用于例如会议和学习情况。
动画国语英语模板作文
动画国语英语模板作文英文回答：What is anime and how does it differ from other forms of animation?Anime is a style of animation that originated in Japan. It is characterized by its distinct art style, which often features large eyes, exaggerated facial expressions, and bright colors. Anime is also known for its complex and often emotional storylines, which can range from action-packed adventures to heartwarming romances.One of the key differences between anime and other forms of animation is the way it is produced. Anime is typically created using a process called cel animation, in which individual frames are drawn on transparent sheets of celluloid. This process gives anime its characteristic smooth and fluid look.Another difference between anime and other forms of animation is its target audience. Anime is typically aimed at a teenage or young adult audience, and it often deals with mature themes such as violence, sexuality, and identity.What are some of the most popular anime series?Some of the most popular anime series include:Naruto。
毕业论文外文翻译报告范文
毕业论文外文翻译报告范文AbstractThis report presents a translation of an academic article titled "The Impact of Technology on Education." The article discusses the various ways in which technology has transformed the field of education, particularly in terms of teaching methods, student engagement, and access to educational resources. The translation aims to accurately convey the content and meaning of the original article, while ensuring clarity and coherence for the readers.IntroductionTechnology has revolutionized nearly every aspect of our lives, including the field of education. In recent years, there has been a significant increase in the use of technology in classrooms and educational institutions worldwide. This article explores the impact of technology on education, highlighting its benefits and potential challenges.Teaching MethodsOne of the key effects of technology on education is the transformation of traditional teaching methods. With the introduction of interactive whiteboards, online learning platforms, and educational apps, teachers now have access to a wide range of tools and resources to enhance their teaching. These technologies enable teachers to create dynamic and engaging lessons, integrating multimedia content and interactive activities, which enhance student understanding and participation.Student EngagementTechnology has also had a profound impact on student engagement in the learning process. With the use of digital tools, students can now actively participate in their education and take ownership of their learning. Interactive quizzes, online discussions, and collaborative projects allow students to actively engage with the subject matter, promoting critical thinking and problem-solving skills. Moreover, technology enables personalized learning experiences, catering to individual student needs and preferences.Access to Educational ResourcesAnother significant benefit of technology in education is the increased access to educational resources. Online libraries, open educational resources, and digital textbooks provide students with a vast amount of information at their fingertips. This access to a wide range of resources goes beyond what traditional textbooks and classrooms can offer, empowering students to explore and learn at their own pace.Challenges and ConsiderationsWhile the impact of technology on education is largely positive, there are also some challenges and considerations that need to be addressed. One concern is the potential for technology to create a divide between students who have access to technology and those who do not. It is essential to ensure equitable access to technology and training for all students to prevent further disparities in education.Additionally, the integration of technology in the classroom requires teachers to adapt and acquire new technological skills. Adequate training and support must be provided to empower teachers to effectively incorporate technology into their teaching practices.ConclusionIn conclusion, technology has had a transformative impact on education. It has revolutionized teaching methods, enhanced student engagement, and provided increased access to educational resources. However, it is important to address the challenges and considerations that arise with the integration of technology in education. By doing so, we can ensure that technology continues to benefit and enhance the learning experience for all students.References:[Original Article Reference]。
Flash动画设计中英文对照外文翻译文献
Flash动画设计中英文对照外文翻译文献动画设计中英文对照外文翻译文献Flash动画设计中英文对照外文翻译文献(文档含英文原文和中文翻译)Flash 动画１ 引言 在现代教学中，传统的教学已经不能满足现代教学的要求，这对教学方式和教师等都提出了更高的要求，所以对于Flash 制作动画课件的研制有着极为重要的意义。
的意义。
Flash Flash 不仅能使学习者加深对所学知识的理解，提高学生的学习兴趣和教师的教学效率，同时也能为课件增加生动的艺术效果，有助于学科知识的表达和传播。
为了为学生提供直观的实验过程，提高学生的学习效率，和传播。
为了为学生提供直观的实验过程，提高学生的学习效率，Flash Flash 动画在教学中的应用十分必要。
本论文以制作蛋白质透析动画为例，阐述了利用拥有强大能力和独特的交互性的Flash8.0Flash8.0制作实验动画的整个过程和有关事宜。
制作实验动画的整个过程和有关事宜。
制作实验动画的整个过程和有关事宜。
2 什么是FlashFlash 是一种创作工具，设计人员和开发人员可使用它来创建演示文稿、应用程序和其它允许用户交互的内容。
用程序和其它允许用户交互的内容。
Flash Flash 可以包含简单的动画、可以包含简单的动画、视频内容、视频内容、视频内容、复复杂演示文稿和应用程序以及介于它们之间的任何内容。
通常，使用杂演示文稿和应用程序以及介于它们之间的任何内容。
通常，使用 Flash Flash 创作创作的各个内容单元称为应用程序，即使它们可能只是很简单的动画。
您可以通过添加图片、声音、视频和特殊效果，构建包含丰富媒体的加图片、声音、视频和特殊效果，构建包含丰富媒体的 Flash Flash 应用程序。
应用程序。
应用程序。
Flash 特别适用于创建通过特别适用于创建通过 Internet Internet 提供的内容，因为它的文件非常小。
提供的内容，因为它的文件非常小。
毕业论文外文翻译
毕业论文外文翻译以下是关于毕业论文700字的外文翻译：Title: The Impact of Artificial Intelligence on the Job Market Introduction:Artificial Intelligence (AI) refers to the development of computer systems that can perform tasks that would normally require human intelligence, such as speech recognition, decision-making, and problem-solving. With advances in technology, AI has become more prominent in various industries, and its impact on the job market has drawn significant attention.Body:1. Automation and Job Displacement:AI has been widely adopted in the automation of certain tasks across industries. For instance, AI-powered machines can handle repetitive tasks more efficiently and accurately than humans, leading to job displacement in certain sectors. Industries such as manufacturing, transportation, and customer service have already seen significant impacts, with robots and virtual agents replacing human workers.2. Job Creation and Augmentation:While AI may displace certain jobs, it also has the potential to create new ones and augment existing ones. The development and implementation of AI systems require skilled professionals in various domains, such as data science, programming, and machine learning. Additionally, AI can enhance human capabilities by augmenting decision-making processes and providing valuableinsights.3. Skill Shifts and Reskilling:With the rapid advancement of AI, certain skills may become less in demand while others may become more valuable. For example, skills such as data analysis, coding, and problem-solving are becoming increasingly important in the AI-driven job market. As a result, individuals may need to reskill or upskill to remain competitive in the workforce.4. Impact on Specific Industries:Certain industries are expected to be significantly impacted by AI. For instance, the healthcare industry can benefit from AI-powered diagnostic tools and predictive models. Likewise, the finance industry can leverage AI to improve fraud detection and risk assessment. However, these advancements may also lead to job displacement in certain roles, such as medical coders and financial analysts.Conclusion:The growth of AI technology has both positive and negative impacts on the job market. While it may lead to job displacement in certain sectors, it also has the potential to create new job opportunities and augment existing ones. In order to adapt to the changing job market, individuals may need to acquire new skills and embrace lifelong learning. Policymakers also have a role to play in facilitating the transition and ensuring the benefits of AI are distributed equitably.。
三维动画设计外文翻译文献
文献信息：文献标题：Aesthetics and design in three dimensional animation process（三维动画过程中的美学与设计）国外作者：Gokce Kececi Sekeroglu文献出处：《Procedia - Social and Behavioral Sciences》, 2012 , 51 (6):812-817字数统计：英文2872单词，15380字符；中文4908汉字外文文献：Aesthetics and design in three dimensional animation processAbstract Since the end of the 20th century, animation techniques have been widely used in productions, advertisements, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all production industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gives the producer the option of applying the technique in either two dimensional (2D) or three dimensional (3D), depending on the given time frame, scenario and content. In the 21st century cinema and television industry, computer animations have become more important than ever. Imaginary characters or objects, as well as people, events and places that are either difficult or costly, or even impossible to shoot, can now be produced and animated through computer modelling techniques. Nowadays, several sectors are benefiting from these specialised techniques. Increased demand and application areas have put the questions of aesthetics and design into perspective, hence introducing a new point of view to the application process. Coming out of necessity, 3D computer animations have added a new dimension to the field of art and design, and they have brought in the question of artistic and aesthetic value in such designs.Keywords: three dimension, animation, aesthetics, graphics, design, film1.IntroductionCenturies ago, ancient people not only expressed themselves by painting still images on cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural course of events in history. Such concern contributed greatly to the animation and cinema history.First examples of animation, which dates back approximately four centuries ago, represents milestones in history of cinema. Eadweard J. Muybridge took several photographs with multiple cameras (Figure 1) and assembled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credited as inventing the first motion picture and the creator of cinematography (1895).Figure 1. Eadweard J. Muybridge’s first animated pictureJ. Stuart Blackton clearly recognised that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. Inparticular, his movie titled The Haunted Hotel (1907) included impressive supernatural sequences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)“Praxinoscope”- invented by Frenchman Charles-Émile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern sense of the word. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that were produced through these animations, such as Little Nemo (1911), Gertie the Dinosaur (1914), The Sinking of the Lusitania (1918), Little Red Riding Hood (1922), The Four Musicians of Bremen (1922) Mickey Mouse(1928), Snow White and the Seven Dwarfs (1937).Nazi regime in Germany leads to several important animation film productions. When Goebbels could no longer import Disney movies, he commissioned all animation studios to develop theatrical cartoons. Upon this, Hans Fischerkoesen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).In due course, animated films became increasingly popular, resulting in new and sizable sectors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the indispensable part of the modern day television and cinema.The American animated movie Aladdin grossed over 495 million dollars worldwide, and represented the success of the American animation industry, which then led to an expansion into animated movies which targeted adults (Aydın, 2010:110).Japan is possibly just as assertive in the animation films as America. Following the success of the first Japanese animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japanese animes became ever so popular, which led to continuousinternational success. For example, the movie titled Spirited Away won an Oscar for Best Animated Feature Film, and became the winner of the top prize at this year's Berlin film festival. Following their ever-increasing success in anime production, Japan became one of the most sought after hubs of animation industry by European and American companies interested in collaboration.Figure 2. The White Snake Enchantress 19582.Three Dimensional AnimationThe development of animation techniques, a process that can be traced back to the 18th century brought with it a thematic variety in animation genres. Today, animation techniques based on cartoons, puppets, stop-motion, shadow, cut-out and time lapse can be applied both manually and based on digital technology. Furthermore the use of 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a central role today in cinema, TV, education and video games alike, and their creative processes in both realistic and surreal terms seem to know no limits. This new medium that with its magical powers makes the impossible possible and defies the laws of physic (Gökçearslan, 2008: 1) open a door for designers and artists to anunlimited imagination. "In particular in the movies of the 80s, computer-aided animated effects turned out to be life-savers, and the feature film Terminator 2 (1991) in which 3D animation technology was used for the first time received praise from both audience and film critics" (Kaba, 1992: 19). Toy Story (Walt Disney Pictures, 1995), a film that became very popular among audiences of all ages due to its script, characters, settings and animation technique, was the first fully 3D animated feature film in history, and was followed by two sequels.By help of the support coming from the homeland, and its form oriented realistic format, Disney characters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as horses, deer, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (Gökçearslan, 2009:80).Another American movie "Shrek" (2001) created by William Steig, whose book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film, attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of "value judgement" is simplified in a way that it is also understood by children. These are amongst two undeniable factors which are thought to have contributed to the worldwide success of the movie.Most successful 3D animation movies are of American make. The importance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.“The era of the post-photographic film has arrived, and it is clear that for the animator, the computer is essentially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc. Consequently, it remains important to note that while Europe has retained a tradition of auteurist film making, also echoed elsewhere in Russia, China, and Japan, the United States has often immersed its animation within a Special Effects tradition, and as an adjunct to live action cinema.” (Wells, 2002:2).3.Aesthetics and Design in Three Dimensional AnimationsLow-budget and high-budget 3D animation movies go through the same process, regardless. This process is necessary in order to put several elements together properly.The first step is to write up a short text called synopsis, which aims to outline the movie plot, content and theme. Following the approval of the synopsis, the creative team moves on to storyboarding, where illustrations or images are displayed in sequence for the purpose of visualising the movie (Figure 3). Storyboarding process reflects 3D animator's perspective and the elements that are aimed to be conveyed to the audience. The animation artists give life to a scenario, and add a touch of their personality to the characters and environment. “"Gone With The Wind" is the first movie where the storyboarding technique, which was initially used in Walt Disney Studios during the production process of animated movies, was used for a non-animation movie, and since the 1940's, it has been an indispensible part of the film industry.Figure 3: Toy Story, storyboarding, PixarStory board artists are the staple of film industry, and they are the ones who either make or break the design and aesthetics of the movie. While they their mainresponsibility is to enframe the movie scenes with aesthetics and design quality in mind, they are also responsible for incorporating lights, shadows and colours in a way that it enhances the realistic features of the movie.The next step following storyboarding, is "timing" which is particularly important in determining the length of scenes, by taking the script into consideration. In order to achieve a realistic and plausible product, meticulous mathematical calculations are required.The next important step is to create characters and environment in 3D software, and finalise the production in accordance with the story-board. While character and objects are modelled in 3D software, such as 3Ds Max, Cinema 4D , Houdini, Maya, Lightwave, the background design is also created with digital art programs such as Photoshop, Illustrator, Artage, depending on the type or content of the movie (Figure: 4). Three dimensional modelling is the digital version of sculpturing. In time, with ever-changing technology, plastic arts have improved and become varied, leading to a new form of digital art, which also provides aesthetic integrity in terms of technique and content. Same as manually produced art work, 3D creations are also produced by highly skilled artist with extensive knowledge of anatomy, patterns, colours, textures, lights and composition. Such artists and designers are able to make use of their imagination and creativity, and take care of both technical and aesthetic aspects of creating an animated movie.Figure 4: Examples of 3D modelling (left) and background (right).In a movie, the colour, light and shadow elements affect the modelled character, setting and background to a very large extent. Three dimensional computer graphics software provides a realistic virtual studio and endless source of light combinations.Hence, the message and feeling is conveyed through an artistically sensitive and aesthetically pleasing atmosphere, created with a certain combination of light and colours. Spot light, omni, area and direct lights are a few examples to the types of options that can be used on their own or as a combination. For example, in 3D animations the 'direct light' source can be used outdoors as an alternative for the sun, whereas the 'area light' which uses vertical beams can help smooth out the surface by spreading the light around, which makes it ideal for indoors settings. Blue Sky Studio's 3D movie called “Ice Age” (Figure 5) produced in 2001 achieved a kind of unique and impressive technology-driven realistic technique with clever use of lights and colours, becoming one of the first exceedingly successful 3D animations of the period.Figure 5: “Ice Age”, Blue Sky Studios, 2001Following the modelling and finishing touches of other visual elements, each scene is animated one by one. “Actions assigned to each and every visual element within the scene have to have a meaningful connection with the story, in terms of form and content. In fact, the very fundamental principle of computer animations is that each action within the scene serves a certain purpose, and the design within the frame creates visual pleasure” . Underscoring element is also expected to complement the visuals and be in harmony with the scene. It is an accepted fact that a good visual is presented along with suitable music, affects the audience in emotional and logicalsense a lot more than it would have done so otherwise. For that reason, underscores are just as important as other audio elements, such as voiceovers and effects, when it comes to visual complements. Sound is an indispensable part of life and nature, therefore it can be considered as a fundamental means of storytelling. Clever and appropriate use of sound is very effective in maintaining the audience's attention and interest.In order to produce a meaningful final product in the editing phase, a careful process of storyboarding and timing have to be carried out. Skilfully executed editing can add rhythm and aesthetics to scenes. The integrity of time, setting, audio and atmosphere within a movie is also profusely important in terms of conveying the semantic rhythm. Meticulously timed fade-out, fade-in, radiance or smoke effects would allow the audience to follow the story more attentively and comfortably, and it would also establish consistency in terms of aesthetics of the movie itself.4. ConclusionNo matter how different the technological circumstances are today, and used to be back in the ancient times when humans painted images on cave surfaces, human beings have always been fascinated with visual communication. Since then, they have been striving to share their experiences, achievements, wishes and dreams with other people, societies or masses. For the same purpose, people have been painting, acting, writing plays, or producing movies. Incessant desire to convey a message through visual communication brought about the invention of the cinema, and since the 18th century, it has become an essential means of presenting ideas, thoughts or feelings to masses. 3D animations, which were mainly used in advertisements, commercials, education and entertainment related productions in the 2000's, brought about many blockbuster 3D movies.When recorded with a camera, the three dimensional aspect of reality is lost, and turned into two dimensions. In 3D animations, the aim is to emulate the reality and present the audience an experience as close to the real life as possible. “Human eye is much more advanced than a video camera. infinite sense of depth and the ability tofocus on several objects at the same time are only a few of many differences between a camera and the human eye. Computer-produced visuals would give the same results as the camera. Same as painting and photography, it aims to interpret the three dimensional world in a two dimensional form.” As a result, 3D animations have become just as important as real applications, and thanks to their ability to produce scenes that are very difficult, even impossible to emulate, they have actually become a better option. Big companies such as Walt Disney, Pixar, and Tree Star have been making 3D animations which appeal to both children and adults worldwide. Successful productions include the elements of appropriate ideas, decent content, combined with expert artists and designers with technical backgrounds. For that reason, in order to establish good quality visual communication and maintain the audience's attention, art and design must go hand in hand. Sometimes, being true to all the fundamental design principles may not be enough to achieve an aesthetically pleasing scene. In order to achieve an aesthetically pleasing scene, warmth and sincerity, which are typical attributes of human beings, must be incorporated into the movie. The modelling team, which functions as the sculptor and creates authentic materials like a painter, teams up with creative story-board artists, and texture and background artists, to achieve an artistically valuable work. In order to achieve plausibility and an aesthetically valuable creation, it is important that colour, light, shadow and textures used during the process are true to real life. Camera angles, speed and direction of movement, the sequence of the scenes and their harmony with the underscoring are essential in determining the schematic and aesthetic quality of a movie.In conclusion, Art does not teach. Rather, art presents the full and concrete reality of the end target. What art does is presents things "as they should be or could have been", which helps people attain such things in real life. However, this is just a secondary benefit of art. The main benefit of art is that it provides people with a taste of what "things would be like if they were the way they were supposed to be" in real life. Such an experience is essential to human life. Surely, people cannot watch a movie with the schematic or aesthetic quality of it in mind. However, as the movieprogresses, a visual language settles into the spectator's subconsciousness, creating a sense of pleasure. Walter Benjamin claims that a spectator analysing a picture is able to abandon himself to his associations. However, this is not the case for people watching a movie at the cinema. Rather, the cinema audience can only build associations after they have watched the movie, therefore the process of perception is delayed. (Benjamin, 1993:66).中文译文：三维动画过程中的美学与设计摘要自20世纪末以来，动画技术在生产、广告、电影、商业、节目、视觉效果等方面得到了广泛的应用，并已经成为影视业不可或缺的组成部分。
毕业设计论文外文文献翻译
xxxx大学xxx学院毕业设计（论文）外文文献翻译系部xxxx专业xxxx学生姓名xxxx 学号xxxx指导教师xxxx 职称xxxx2013年3 月Introducing the Spring FrameworkThe Spring Framework: a popular open source application framework that addresses many of the issues outlined in this book. This chapter will introduce the basic ideas of Spring and dis-cuss the central “bean factory” lightweight Inversion-of-Control (IoC) container in detail.Spring makes it particularly easy to implement lightweight, yet extensible, J2EE archi-tectures. It provides an out-of-the-box implementation of the fundamental architectural building blocks we recommend. Spring provides a consistent way of structuring your applications, and provides numerous middle tier features that can make J2EE development significantly easier and more flexible than in traditional approaches.The basic motivations for Spring are:To address areas not well served by other frameworks. There are numerous good solutions to specific areas of J2EE infrastructure: web frameworks, persistence solutions, remoting tools, and so on. However, integrating these tools into a comprehensive architecture can involve significant effort, and can become a burden. Spring aims to provide an end-to-end solution, integrating spe-cialized frameworks into a coherent overall infrastructure. Spring also addresses some areas that other frameworks don’t. For example, few frameworks address generic transaction management, data access object implementation, and gluing all those things together into an application, while still allowing for best-of-breed choice in each area. Hence we term Spring an application framework, rather than a web framework, IoC or AOP framework, or even middle tier framework.To allow for easy adoption. A framework should be cleanly layered, allowing the use of indi-vidual features without imposing a whole worldview on the application. Many Spring features, such as the JDBC abstraction layer or Hibernate integration, can be used in a library style or as part of the Spring end-to-end solution.To deliver ease of use. As we’ve noted, J2EE out of the box is relatively hard to use to solve many common problems. A good infrastructure framework should make simple tasks simple to achieve, without forcing tradeoffs for future complex requirements (like distributed transactions) on the application developer. It should allow developers to leverage J2EE services such as JTA where appropriate, but to avoid dependence on them in cases when they are unnecessarily complex.To make it easier to apply best practices. Spring aims to reduce the cost of adhering to best practices such as programming to interfaces, rather than classes, almost to zero. However, it leaves the choice of architectural style to the developer.Non-invasiveness. Application objects should have minimal dependence on the framework. If leveraging a specific Spring feature, an object should depend only on that particular feature, whether by implementing a callback interface or using the framework as a class library. IoC and AOP are the key enabling technologies for avoiding framework dependence.Consistent configuration. A good infrastructure framework should keep application configuration flexible and consistent, avoiding the need for custom singletons and factories. A single style should be applicable to all configuration needs, from the middle tier to web controllers.Ease of testing. Testing either whole applications or individual application classes in unit tests should be as easy as possible. Replacing resources or application objects with mock objects should be straightforward.To allow for extensibility. Because Spring is itself based on interfaces, rather than classes, it is easy to extend or customize it. Many Spring components use strategy interfaces, allowing easy customization.A Layered Application FrameworkChapter 6 introduced the Spring Framework as a lightweight container, competing with IoC containers such as PicoContainer. While the Spring lightweight container for JavaBeans is a core concept, this is just the foundation for a solution for all middleware layers.Basic Building Blockspring is a full-featured application framework that can be leveraged at many levels. It consists of multi-ple sub-frameworks that are fairly independent but still integrate closely into a one-stop shop, if desired. The key areas are:Bean factory. The Spring lightweight IoC container, capable of configuring and wiring up Java-Beans and most plain Java objects, removing the need for custom singletons and ad hoc configura-tion. Various out-of-the-box implementations include an XML-based bean factory. The lightweight IoC container and its Dependency Injection capabilities will be the main focus of this chapter.Application context. A Spring application context extends the bean factory concept by adding support for message sources and resource loading, and providing hooks into existing environ-ments. Various out-of-the-box implementations include standalone application contexts and an XML-based web application context.AOP framework. The Spring AOP framework provides AOP support for method interception on any class managed by a Spring lightweight container.It supports easy proxying of beans in a bean factory, seamlessly weaving in interceptors and other advice at runtime. Chapter 8 dis-cusses the Spring AOP framework in detail. The main use of the Spring AOP framework is to provide declarative enterprise services for POJOs.Auto-proxying. Spring provides a higher level of abstraction over the AOP framework and low-level services, which offers similar ease-of-use to .NET within a J2EE context. In particular, the provision of declarative enterprise services can be driven by source-level metadata.Transaction management. Spring provides a generic transaction management infrastructure, with pluggable transaction strategies (such as JTA and JDBC) and various means for demarcat-ing transactions in applications. Chapter 9 discusses its rationale and the power and flexibility that it offers.DAO abstraction. Spring defines a set of generic data access exceptions that can be used for cre-ating generic DAO interfaces that throw meaningful exceptions independent of the underlying persistence mechanism. Chapter 10 illustrates the Spring support for DAOs in more detail, examining JDBC, JDO, and Hibernate as implementation strategies.JDBC support. Spring offers two levels of JDBC abstraction that significantly ease the effort of writing JDBC-based DAOs: the org.springframework.jdbc.core package (a template/callback approach) and the org.springframework.jdbc.object package (modeling RDBMS operations as reusable objects). Using the Spring JDBC packages can deliver much greater pro-ductivity and eliminate the potential for common errors such as leaked connections, compared with direct use of JDBC. The Spring JDBC abstraction integrates with the transaction and DAO abstractions.Integration with O/R mapping tools. Spring provides support classesfor O/R Mapping tools like Hibernate, JDO, and iBATIS Database Layer to simplify resource setup, acquisition, and release, and to integrate with the overall transaction and DAO abstractions. These integration packages allow applications to dispense with custom ThreadLocal sessions and native transac-tion handling, regardless of the underlying O/R mapping approach they work with.Web MVC framework. Spring provides a clean implementation of web MVC, consistent with the JavaBean configuration approach. The Spring web framework enables web controllers to be configured within an IoC container, eliminating the need to write any custom code to access business layer services. It provides a generic DispatcherServlet and out-of-the-box controller classes for command and form handling. Request-to-controller mapping, view resolution, locale resolution and other important services are all pluggable, making the framework highly extensi-ble. The web framework is designed to work not only with JSP, but with any view technology, such as Velocity—without the need for additional bridges. Chapter 13 discusses web tier design and the Spring web MVC framework in detail.Remoting support. Spring provides a thin abstraction layer for accessing remote services without hard-coded lookups, and for exposing Spring-managed application beans as remote services. Out-of-the-box support is inc luded for RMI, Caucho’s Hessian and Burlap web service protocols, and WSDL Web Services via JAX-RPC. Chapter 11 discusses lightweight remoting.While Spring addresses areas as diverse as transaction management and web MVC, it uses a consistent approach everywhere. Once you have learned the basic configuration style, you will be able to apply it in many areas. Resources, middle tier objects, and web components are all set up using the same bean configuration mechanism. You can combine your entireconfiguration in one single bean definition file or split it by application modules or layers; the choice is up to you as the application developer. There is no need for diverse configuration files in a variety of formats, spread out across the application.Spring on J2EEAlthough many parts of Spring can be used in any kind of Java environment, it is primarily a J2EE application framework. For example, there are convenience classes for linking JNDI resources into a bean factory, such as JDBC DataSources and EJBs, and integration with JTA for distributed transaction management. In most cases, application objects do not need to work with J2EE APIs directly, improving reusability and meaning that there is no need to write verbose, hard-to-test, JNDI lookups.Thus Spring allows application code to seamlessly integrate into a J2EE environment without being unnecessarily tied to it. You can build upon J2EE services where it makes sense for your application, and choose lighter-weight solutions if there are no complex requirements. For example, you need to use JTA as transaction strategy only if you face distributed transaction requirements. For a single database, there are alternative strategies that do not depend on a J2EE container. Switching between those transac-tion strategies is merely a matter of configuration; Spring’s consistent abstraction avoids any need to change application code.Spring offers support for accessing EJBs. This is an important feature (and relevant even in a book on “J2EE without EJB”) because the u se of dynamic proxies as codeless client-side business delegates means that Spring can make using a local stateless session EJB an implementation-level, rather than a fundamen-tal architectural, choice.Thus if you want to use EJB, you can within a consistent architecture; however, you do not need to make EJB the cornerstone of your architecture. This Spring feature can make devel-oping EJB applications significantly faster, because there is no need to write custom code in service loca-tors or business delegates. Testing EJB client code is also much easier, because it only depends on the EJB’s Business Methods interface (which is not EJB-specific), not on JNDI or the EJB API.Spring also provides support for implementing EJBs, in the form of convenience superclasses for EJB implementation classes, which load a Spring lightweight container based on an environment variable specified in the ejb-jar.xml deployment descriptor. This is a powerful and convenient way of imple-menting SLSBs or MDBs that are facades for fine-grained POJOs: a best practice if you do choose to implement an EJB application. Using this Spring feature does not conflict with EJB in any way—it merely simplifies following good practice.Introducing the Spring FrameworkThe main aim of Spring is to make J2EE easier to use and promote good programming practice. It does not reinvent the wheel; thus you’ll find no logging packages in Spring, no connection pools, no distributed transaction coordinator. All these features are provided by other open source projects—such as Jakarta Commons Logging (which Spring uses for all its log output), Jakarta Commons DBCP (which can be used as local DataSource), and ObjectWeb JOTM (which can be used as transaction manager)—or by your J2EE application server. For the same reason, Spring doesn’t provide an O/R mapping layer: There are good solutions for this problem area, such as Hibernate and JDO.Spring does aim to make existing technologies easier to use. For example, although Spring is not in the business of low-level transactioncoordination, it does provide an abstraction layer over JTA or any other transaction strategy. Spring is also popular as middle tier infrastructure for Hibernate, because it provides solutions to many common issues like SessionFactory setup, ThreadLocal sessions, and exception handling. With the Spring HibernateTemplate class, implementation methods of Hibernate DAOs can be reduced to one-liners while properly participating in transactions.The Spring Framework does not aim to replace J2EE middle tier services as a whole. It is an application framework that makes accessing low-level J2EE container ser-vices easier. Furthermore, it offers lightweight alternatives for certain J2EE services in some scenarios, such as a JDBC-based transaction strategy instead of JTA when just working with a single database. Essentially, Spring enables you to write appli-cations that scale down as well as up.Spring for Web ApplicationsA typical usage of Spring in a J2EE environment is to serve as backbone for the logical middle tier of a J2EE web application. Spring provides a web application context concept, a powerful lightweight IoC container that seamlessly adapts to a web environment: It can be accessed from any kind of web tier, whether Struts, WebWork, Tapestry, JSF, Spring web MVC, or a custom solution.The following code shows a typical example of such a web application context. In a typical Spring web app, an applicationContext.xml file will reside in the WEB-INF directory, containing bean defini-tions according to the “spring-beans” DTD. In such a bean definition XML file, business objects and resources are defined, for example, a “myDataSource” bean, a “myInventoryManager” bean, and a “myProductManager” bean. Spring takes care of their configuration, their wiring up, and their lifecycle.<beans><bean id=”myDataSource” class=”org.springframework.jdbc. datasource.DriverManagerDataSource”><property name=”driverClassName”> <value>com.mysql.jdbc.Driver</value></property> <property name=”url”><value>jdbc:mysql:myds</value></property></bean><bean id=”myInventoryManager” class=”ebusiness.DefaultInventoryManager”> <property name=”dataSource”><ref bean=”myDataSource”/> </property></bean><bean id=”myProductManager” class=”ebusiness.DefaultProductManage r”><property name=”inventoryManager”><ref bean=”myInventoryManager”/> </property><property name=”retrieveCurrentStock”> <value>true</value></property></bean></beans>By default, all such beans have “singleton” scope: one instance per context. The “myInventoryManager” bean will automatically be wired up with the defined DataSource, while “myProductManager” will in turn receive a reference to the “myInventoryManager” bean. Those objects (traditionally called “beans” in Spring terminology) need to expos e only the corresponding bean properties or constructor arguments (as you’ll see later in this chapter); they do not have to perform any custom lookups.A root web application context will be loaded by a ContextLoaderListener that is defined in web.xml as follows:<web-app><listener> <listener-class>org.springframework.web.context.ContextLoaderListener</listener-class></listener>...</web-app>After initialization of the web app, the root web application context will be available as a ServletContext attribute to the whole web application, in the usual manner. It can be retrieved from there easily via fetching the corresponding attribute, or via a convenience method in org.springframework.web. context.support.WebApplicationContextUtils. This means that the application context will be available in any web resource with access to the ServletContext, like a Servlet, Filter, JSP, or Struts Action, as follows:WebApplicationContext wac = WebApplicationContextUtils.getWebApplicationContext(servletContext);The Spring web MVC framework allows web controllers to be defined as JavaBeans in child application contexts, one per dispatcher servlet. Such controllers can express dependencies on beans in the root application context via simple bean references. Therefore, typical Spring web MVC applications never need to perform a manual lookup of an application context or bean factory, or do any other form of lookup.Neither do other client objects that are managed by an application context themselves: They can receive collaborating objects as bean references.The Core Bean FactoryIn the previous section, we have seen a typical usage of the Spring IoC container in a web environment: The provided convenience classes allow for seamless integration without having to worry about low-level container details. Nevertheless, it does help to look at the inner workings to understand how Spring manages the container. Therefore, we will now look at the Spring bean container in more detail, starting at the lowest building block: the bean factory. Later, we’ll continue with resource setup and details on the application context concept.One of the main incentives for a lightweight container is to dispense with the multitude of custom facto-ries and singletons often found in J2EE applications. The Spring bean factory provides one consistent way to set up any number of application objects, whether coarse-grained components or fine-grained busi-ness objects. Applying reflection and Dependency Injection, the bean factory can host components that do not need to be aware of Spring at all. Hence we call Spring a non-invasive application framework.Fundamental InterfacesThe fundamental lightweight container interface is org.springframework.beans.factory.Bean Factory. This is a simple interface, which is easy to implement directly in the unlikely case that none of the implementations provided with Spring suffices. The BeanFactory interface offers two getBean() methods for looking up bean instances by String name, with the option to check for a required type (and throw an exception if there is a type mismatch).public interface BeanFactory {Object getBean(String name) throws BeansException;Object getBean(String name, Class requiredType) throws BeansException;boolean containsBean(String name);boolean isSingleton(String name) throws NoSuchBeanDefinitionException;String[] getAliases(String name) throws NoSuchBeanDefinitionException;}The isSingleton() method allows calling code to check whether the specified name represents a sin-gleton or prototype bean definition. In the case of a singleton bean, all calls to the getBean() method will return the same object instance. In the case of a prototype bean, each call to getBean() returns an inde-pendent object instance, configured identically.The getAliases() method will return alias names defined for the given bean name, if any. This mecha-nism is used to provide more descriptive alternative names for beans than are permitted in certain bean factory storage representations, such as XML id attributes.The methods in most BeanFactory implementations are aware of a hierarchy that the implementation may be part of. If a bean is not foundin the current factory, the parent factory will be asked, up until the root factory. From the point of view of a caller, all factories in such a hierarchy will appear to be merged into one. Bean definitions in ancestor contexts are visible to descendant contexts, but not the reverse.All exceptions thrown by the BeanFactory interface and sub-interfaces extend org.springframework. beans.BeansException, and are unchecked. This reflects the fact that low-level configuration prob-lems are not usually recoverable: Hence, application developers can choose to write code to recover from such failures if they wish to, but should not be forced to write code in the majority of cases where config-uration failure is fatal.Most implementations of the BeanFactory interface do not merely provide a registry of objects by name; they provide rich support for configuring those objects using IoC. For example, they manage dependen-cies between managed objects, as well as simple properties. In the next section, we’ll look at how such configuration can be expressed in a simple and intuitive XML structure.The sub-interface org.springframework.beans.factory.ListableBeanFactory supports listing beans in a factory. It provides methods to retrieve the number of beans defined, the names of all beans, and the names of beans that are instances of a given type:public interface ListableBeanFactory extends BeanFactory {int getBeanDefinitionCount();String[] getBeanDefinitionNames();String[] getBeanDefinitionNames(Class type);boolean containsBeanDefinition(String name);Map getBeansOfType(Class type, boolean includePrototypes,boolean includeFactoryBeans) throws BeansException}The ability to obtain such information about the objects managed by a ListableBeanFactory can be used to implement objects that work with a set of other objects known only at runtime.In contrast to the BeanFactory interface, the methods in ListableBeanFactory apply to the current factory instance and do not take account of a hierarchy that the factory may be part of. The org.spring framework.beans.factory.BeanFactoryUtils class provides analogous methods that traverse an entire factory hierarchy.There are various ways to leverage a Spring bean factory, ranging from simple bean configuration to J2EE resource integration and AOP proxy generation. The bean factory is the central, consistent way of setting up any kind of application objects in Spring, whether DAOs, business objects, or web controllers. Note that application objects seldom need to work with the BeanFactory interface directly, but are usu-ally configured and wired by a factory without the need for any Spring-specific code.For standalone usage, the Spring distribution provides a tiny spring-core.jar file that can be embed-ded in any kind of application. Its only third-party dependency beyond J2SE 1.3 (plus JAXP for XML parsing) is the Jakarta Commons Logging API.The bean factory is the core of Spring and the foundation for many other services that the framework offers. Nevertheless, the bean factory can easily be used stan-dalone if no other Spring services are required.Derivative：networkSpring 框架简介Spring框架：这是一个流行的开源应用框架，它可以解决很多问题。
动画制作外文翻译文献
动画制作外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文：动作脚本ActionScript是 Macromedia（现已被Adobe收购）为其Flash产品开发的，最初是一种简单的脚本语言，现在最新版本3.0，是一种完全的面向对象的编程语言，功能强大，类库丰富，语法类似JavaScript，多用于Flash互动性、娱乐性、实用性开发，网页制作和RIA应用程序开发。
ActionScript 是一种基于ECMAScript的脚本语言，可用于编写Adobe Flash动画和应用程序。
由于ActionScript和JavaScript都是基于ECMAScript语法的，理论上它们互相可以很流畅地从一种语言翻译到另一种。
不过JavaScript的文档对象模型（DOM）是以浏览器窗口，文档和表单为主的，ActionScript的文档对象模型（DOM）则以SWF格式动画为主，可包括动画，音频，文字和事件处理。
历史在Mac OS X 10.2操作系统上的Macromedia Flash MX专业版里，这些代码可以创建一个与MAC OS X启动过程中看见的类似的动画。
ActionScript第一次以它目前的语法出现是Flash 5版本，这也是第一个完全可对Flash编程的版本。
这个版本被命名为ActionScript1.0。
Flash 6通过增加大量的内置函数和对动画元素更好的编程控制更进一步增强了编程环境的功能。
Flash 7(MX 2004)引进了ActionScript2.0，它增加了强类型（strong typing）和面向对象特征，如显式类声明，继承，接口和严格数据类型。
ActionScript1.0和2.0使用相同的编译形式编译成Flash SWF文件（即Shockwave Flash files，或 'Small Web Format'）.时间表Flash Player 2：第一个支持脚本的版本，包括控制时间轴的gotoAndPlay, gotoAndStop, nextFrame和nextScene等动作。
动画技术外文翻译文献
AnimationAnimation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program, although there are other methods.Early examplesAn Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.Five images sequence from a vase foundin IranThere is no single person who can be considered the "creator" of film animation, as there were several people working on projects which could be considered animation at about the same time.Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Méliès discovered this technique accidentally when hisEarly examples of attempts to capture the phenomenon of motion drawing can be foundin paleolithic cave paintings, where animals aredepicted with multiple legs in superimposedpositions, clearly attempting to convey theperception of motion.An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. A 5,000 year old earthen bowl found inIran.It has five images of a goat painted along thesides. This has been claimed to be an example ofearly animation. However, since no equipmentexisted to show the images in motion, such aseries of images cannot be called animation in atrue sense of the word.A Chinese zoetrope-type device had beeninvented in 180 AD. The phenakistoscope,praxinoscope, and the common flip book were early popular animation devices invented during the 19th century. These devices produced the appearance of movement from sequential drawings using technological means, but animation did not really develop much further until the advent of cinematography.camera broke down while shooting a bus driving by. When he had fixed the camera, a hearse happened to be passing by just as Méliès restarted rolling the film, his end result was that he had managed to make a bus transform into a hearse. This was just one of the great contributors to animation in the early years.The earliest surviving stop-motion advertising film was an English short by Arthur Melbourne-Cooper called Matches: An Appeal (1899). Developed for the Bryant and May Matchsticks company, it involved stop-motion animation of wired-together matches writing a patriotic call to action on a blackboard.J. Stuart Blackton was possibly the first American film-maker to use the techniques of stop-motion and hand-drawn animation. Introduced to film-making by Edison, he pioneered these concepts at the turn of the 20th century, with his first copyrighted work dated 1900. Several of his films, among them The Enchanted Drawing (1900) and Humorous Phases of Funny Faces (1906) were film versions of Blackton's "lightning artist" routine, and utilized modified versions of Méliès' early stop-motion techniques to make a series of blackboard drawings appear to move and reshape themselves. 'Humorous Phases of Funny Faces' is regularly cited as the first true animated film, and Blackton is considered the first true animator.Fantasmagorie by Emile Cohl, 1908 Following the successes of Blackton and Cohl, many other artists began experimenting with animation. One such artist was Winsor McCay, a successful newspaper cartoonist, who created detailed animations that required a team of artists and painstaking attention for detail. Each frame was drawn on paper; which invariably required backgrounds and characters to be redrawn and animated. Among McCay's most noted films are Little Nemo (1911), Gertie the Dinosaur (1914) and The Sinking of the Lusitania (1918).The production of animated short films, typically referred to as "cartoons", became an industry of its own during the 1910s, and cartoon shorts were produced to be shown in movie theaters. The most successful early animation producer was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process which dominated the animation industry for the rest of the decade.El Apóstol (Spanish: "The Apostle") was a 1917 Argentine animated film utilizing cutout animation, and the world's first animated feature film.Another French artist, Émile Cohl, begandrawing cartoon strips and created a film in1908 called Fantasmagorie. The film largelyconsisted of a stick figure moving about andencountering all manner of morphing objects,such as a wine bottle that transforms into aflower. There were also sections of live actionwhere the animator’s hands would enter thescene. The film was created by drawing eachframe on paper and then shooting each frameonto negative film, which gave the picture ablackboard look. This makes Fantasmagorie thefirst animated film created using what came tobe known as traditional (hand-drawn)animation.Traditional animationThe traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cel animation which makes extensive use of computer technology.Examples of traditionally animated feature films include Pinocchio (United States, 1940), Animal Farm (United Kingdom, 1954), and Akira (Japan, 1988). Traditional animated films which were produced with the aid of computer technology include The Lion King (US, 1994) Sen to Chihiro no Kamikakushi (Spirited Away) (Japan, 2001), and Les Triplettes de Belleville (France, 2003).Full animation refers to the process of producing high-quality traditionally animated films, which regularly use detailed drawings and plausible movement. Fully animated films can be done in a variety of styles, from more realistically animated works such as those produced by the Walt Disney studio (Beauty and the Beast, Aladdin, Lion King) to the more 'cartoony' styles of those produced by the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works such as The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007).Limited animation involves the use of less detailed and/or more stylized drawings and methods of movement. Pioneered by the artists at the American studio United Productions of America, limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing Boing (US, 1951), Yellow Submarine (UK, 1968), and much of the anime produced in Japan. Its primary use, however, has been in producing cost-effective animated content for media such as television (the work of Hanna-Barbera, Filmation, and other TV animation studios) andAn example of traditional animation, a horse animated by rotoscoping from Eadweard Muybridge's 19th century photos Traditional animation (also called cel animationor hand-drawn animation) was the process used formost animated films of the 20th century. Theindividual frames of a traditionally animated film arephotographs of drawings, which are first drawn onpaper. To create the illusion of movement, eachdrawing differs slightly from the one before it. Theanimators' drawings are traced or photocopied ontotransparent acetate sheets called cels, which are filledin with paints in assigned colors or tones on the sideopposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.later the Internet (web cartoons)。
もののけ姫 外文翻译
「風の谷のナウシカ」から「もののけ姫」へ—宮崎駿とスタジオジブリの13年映画「もののけ姫」は、宮崎駿監督作品の集大成だと言う。
宮崎監督は各誌のインタビューに応えて「スタジオジブリの決算を目指した」とも語っている。
それは、二義的にはスタジオに蓄積された人材・技術水準・資金力など条件の利を指すと思われるが、一義的には思想的意味合いが大きいと思われる。
では、その「思想的決算」とは何のことだったのか。
宮崎監督の作品とスタジオジブリの遍歴を振り返りながら考えてみたい。
なお、スタジオ成立の経過・作品制作の経緯・スタッフ編成・技術的推移・興行的変遷などの制作データや裏話的エピソードなどは他誌で何度も語られているので一切省略した。
物語やキャラクターのくどい紹介も避けた。
本小論は、専ら宮崎駿監督の思想的変遷のみを追ったものと解されたい。
漫画版「風の谷のナウシカ」―再生と破壊の同居する凶暴な森「照葉樹林文化論」の影響を最初に反映させた作品が、一九八二年に連載を開始した漫画「風の谷のナウシカ」である。
この作品で宮崎氏のモチーフは大きな変転を遂げた。
曰く「自分でも結論の分からない領域に踏み込んだ」のである。
『ゲド戦記』や『砂の惑星』などに着想を得たこの物語の最大の特徴は、「腐海」と呼ばれる有害な毒を吐く森林を舞台としたことである。
文明消滅後に森林が生まれ、生命を再生させるという構想自体は「未来少年コナン」でも描かれた。
しかし、森が拡大すればするほど人間が生きられないという、森と人間の対立構造はこの作品で初めて描かれた観点である。
一方でこの森は、文明によって生じた毒を浄化し、生態系の再生を司るという「秘密の逆説」をはらんでいる。
人間には害悪だが、地球には有益なのだ。
西欧産のＳＦファンタジーでは、前述の作品を含めて「文明消滅後に環境が激変して砂漠となった星」が登場するケースが多い。
宮崎氏も当初は、砂漠を舞台として構想していたが、どうにも自分の中にある原初的イメージにそぐわず、ついに凶暴な森を舞台とすることを思い着く。
动画专业毕业设计外文翻译
动画专业毕业设计外文翻译附录一英文原文Animated conversation Developing decent web animations has been more like a climb up the Eiger than a walk in the park. However, the latest breed of software available has been built to capture the designer's imagination without killing off the muse. Alistair Dabbs goes through the motions.Let's face it, the Web is a disappointment. It's that tiny little screen, the narrow bandwidth and the uncertainty that vast numbers of your audience might not be able to see what you want them to. Everything to do with Web design is about downsizing. And if it wasn't bad enough having to make all your static graphics 72dpi, any attempt at animation involves considerable cramming effort. What this means, at least until large screens and fast Internet connections become the norm, is you can't yet do much with video. You can stream QuickTime, but without a leased line connection it's terrible. Thankfully, you still have a range of choices when it comes to graphics animation. So, let's take a look at the main techniques, and their drawbacks, for getting your site animated today.Back in 1994, the backroom boys in commercial Web development came up with an extremely basic form of animation by sending consecutive GIF images live to the browser. Advertisers had been using this method to change ad banners every 30 seconds or so without waiting for the user to refresh the page. By sending a sequence of frames on a constant basis, an elementary animation effect was possible. The drawback, of course, was that graphic data was constantly being downloaded over the line after the page itself had loaded. On a 14.4K modem, this meant the browser was always flickering and the hard disk churning, and frames were usually interspersed with blanks as each subsequent frame loaded. Soon after, the animated GIF was born, effectively packing the GIF frame sequence into one file which downloaded once. The animated GIF has been a staple of ad banners and simple attention-grabbing effects ever since. Even sites which promote and showcase Flash and Shockwave interfaces still use animated GIFs because designers know that it's the one animation technology supported in every Web browser that lets you see graphics at all. The limitations of animated GIFs are well-known, but let's summarise them anyway. GIFs are bitmap images, so come at a fixed size regardless of browser window size. They can reach第1页quite exciting sizes if they include more than 10 frames or so, because compression is based on the number of different colours in each image. They also tend to appear in a jerky fashion during the download, leaving the user staring at a seemingly inexplicable sequence running at one frame every five seconds the first time round. More recently, designers have been able to produce basic path motion for static images using DHTML. Instead of running an animation in one fixed place, DHTML techniques let you take a single image and move it around over the top of your page as an independent, floating object. The nice thing about this approach is that the animation, for what it is, starts almost immediately and the movement is perfectly smooth, not being frame-based. The graphic can also have a transparent background just like any GIF. The big drawback is that it doesn't do anything else terribly interesting. As a result it can come across as just plain annoying or tacky. And it's not really animation.While the World Wide Web Consortium squandered most of the 1990s considering some proper animation technologies, Macromedia just went for it. The result was Flash, a system of playing back self-contained movies containing vector-based graphics and text within a Web page or independently running in a Web browser. The advantages of the Flash approach are considerable, and getting more compelling as time goes on. In the first instance, the vector nature of Flash movies allows you to include quite complex graphics and sequences in the confidence that they'll compress down to almost unfeasibly small file sizes. In practically every test, from simple rollover type and button effects to complete sequences, you'll find that Flash files are smaller than animated GIFs and load up faster than Java actions. Vectors also mean that the movies can resize themselves automatically to fit the browser screen, anti-aliasing on the fly. Better still, Flash movies can incorporate events and react to user input, making it terrific for developing custom Web page interfaces which HTML couldn't hope to imitate. Not least, Flash can include embedded audio. And perhaps best of all from an experienced designer's point of view, the movies can be set to start running as soon as the download commences without waiting for it to complete. There are two principal drawbacks to the Flash format. First, it requires your audience to have a plug-in Flash player installed. However, to Macromedia's credit, the Flash plug-in is a relatively small and speedy download at just a couple of hundred kilobytes. You should also be aware that Microsoft 3 intends dumping most of the plug-ins it currently ships with InternetExplorer in future - but Flash is the very notable exception. The second drawback might not concern you, but it's that Flash isn't actually a standard in the same way as HTML, GIF, JPG, PNG or something like Java. Flash is a 100 per cent proprietary format owned by Macromedia and licensed out to other graphics software developers on a commercial basis. In practice, of course, it doesn't matter that Flash isn't an officially recognised standard because well over 90 per cent of Internet users already have the plug-in installed: we're talking about hundreds of millions of people, ready to go with your animation content. Fun and sexy though Flash is, it's not a complete multimedia environment. Originally, Flash arose from a project at Macromedia to make Shockwave animations, already developed for Web playback, even more compact and accessible by people with slow modems. Shockwave is still very much alive and well, and in many cases leaves Flash way behind in terms of visual quality, interactivity and multifunctionality. There's even a lively market for cartoons and games using Shockwave and its offline player ShockMachine. Unlike Flash, however, the Shockwave plug-in is a long download and requires a somewhat fiddly installation process which includes exiting your Web browser at one point. The big limitation of both Flash and Shockwave from a graphic artist's point of view is that the really clever interactive features depend on scripting. Or to choose another word, programming. If you're happy about scripting, indeed if you have some JavaScript experience, you'll find Flash is reasonably approachable; if not, you'll be limited to more conventional animation tasks.Inevitably, everyone is always on the hunt for a Web animation system that doesn't expect the audience to locate and install third-party plug-ins. These exist, but they do so with solutions that are even more proprietary than Flash, and usually protected by their creators with ridiculously extreme caution. One example of an alternative to Flash that doesn't require a plug-in is CyberSpot. To all intents and purposes, a CyberSpot sequence looks a bit like a basic Flash movie with audio but it loads up in an instant without any preliminaries. The problem with it is that CyberSpot is marketed as a bespoke service by the company that developed it. You commission them to create a 30-second movie on your behalf, rather than create your own using standard software packages. As you can imagine, this is of limited use except as standalone ads. The hot technology everyone is talking about at the moment that could rival Flash at some point in the future is Scalable Vector Graphics, or SVG. It beganlife as a concept proposed by Adobe to the World Wide Web Consortium and, from the start, Adobe proposed SVG as an open standard in the hope that this will encourage its adoption. The idea behind SVG is to provide the Web with a vector graphics standard in the same way that GIF, JPG and PNG are bitmap standards. But more than this, it supports animation and user interactivity. And further, it is navigable with pan and zoom functions. This means you could use SVG in a number of different ways to suit the desired result, whether that be a detailed diagram you can zoom into without losing definition (a streetmap is a classic example), Web page interface elements or an interactive animated movie. SVG supports visual filter effects applied in real time rather than just being frames, and can include audio. One of the reasons so many people are getting interested in SVG is that it is based on XML, which is generally regarded as the next step in Web functionality. XML support in a dynamic vector graphic or animation can link it intelligently to all kinds of data, which in turn could radically alter the way Web content is delivered. As ever, there are drawbacks. One is that SVG, though accepted as an official standard, still requires a plug-in for your browser to display. Although Adobe hopes that one day, SVG support will be built into all browsers, for the immediate future it involves a download of well over 2Mb. Another limitation is that precious few graphics packages can yet export to SVG other than Adobe Illustrator 9 and Photoshop 6. And this leads to the biggest drawback of all: not many people are using SVG yet and most Web users have never heard of it. All this certainly lends credence to Macromedia's claim that Flash is the real Web animation standard, officially recognised or not. With a widening range of design products now capable of exporting to Flash, including Illustrator and FreeHand, not to mention LiveMotion, Flash is where the action's at for the next couple of years at least, if not indefinitely.Information source：" /flash-animation.html"附录二翻译译文网络动画正规对话的发展更像是攀爬艾格尔峰，而不是在公园里散步。
-日本艺术和动画卡通外文翻译
本科毕业论文外文翻译外文题目：Japanese Art and the Animated Cartoon出处：The Quarterly of Film Radio and Television作者：Taihei Imamura原文：Japanese Art and the Animated CartoonTAIHEI IMAMURA is one of Japan's leading motion picture critics and has written a number of books on the social and aesthetic aspects of the film, as well as editing Eiga Bunka (Movie Culture), the only motion-picture magazine in Japan. The following article, which was translated from Japanese by Fuyuichi Tsuruoka, is to appear as a chapter in Mr. Imamura's On the Animated Cartoon. THE ANIMATED CARTOON has made little progress except in America, but the popularity of Disney films, rivaled in universal appeal only by the films of Chaplin, gives reason to hope that there will be a world-wide development in the field of animation, each country adapting the techniques of animation to its own artistic tradition.Unfortunately, the Japanese animated cartoon is not as unique an art as that of America despite the fact that Japanese art in the past was distinguished by its originality. It may well be that ancient Japanese art, considered critically, is the art of a less advanced society, but this does not mean that a Japanese style of animation can or should dispense with it. Whether we like it or not, traditional art must be the foundation of a truly Japanese animated cartoon. Originality in the new form will not be attained by ignoring the past, for the animated cartoon, like other modern forms of art, is a development of inheritances from the past. It has been pointed out by S. M. Eisenstein that ancient Japanese art has characteristics closely related to those of the animated cartoon and employs similar methods.The Japanese picture scroll, considered as a picture story, is actually a distant antecedent of the animated cartoon, the first attempt to tell a story with a time elementin pictures. The chief difference between the animated cartoon and the picture scroll is that the individual pictures in the scroll do not move. On the other hand, neither does the single frame of a motion picture. The illusion of movement results, in both forms, from the differ-ence between each picture and the one that follows. Each picture (whether in the picture scroll or the movie) is inanimate, a still of arrested motion. When the pictures are seen in time, one after another, they seem to move. That objects and people appear to have motion is secondary; the essential movement is the progress of an idea. A representation of mere motion is not art unless it advances an idea, or is the visual image of original and creative thought. Both the motion picture and the Japanese picture scroll are plastic expressions of ideas, and consequently, though the picture scroll is centuries old, have fundamental techniques in common.To illustrate, a Japanese picture scroll shows the opposite sides of a battleship simultaneously although the ship is in a position where only one side could actually be seen. By the ordinary laws of perspective, we cannot see the opposite side of an object, so the battleship is drawn twistedly. This is a negation of a monistic visual angle and of common sense. It is the same method as that of Futurism or Cubism.To let us see both sides of an object from one point of view is to reveal the side which is ordinarily unseen or that we do not expect to see. The one side is "real" and the other is "unreal," so that the unreal side should be considered to exist through the real one, to be predicated upon the real side as probable or neces-sary. It is an imaginative unification of both sides, distorting perspective to express an idea.Double exposure in the motion picture serves the same pur-pose, allowing us to see both sides of one thing at the same time, or two objects in different places at the same time.Both the motion picture and the picture scroll have other tech-niques that overcome the physical limitations of the human eye. The motion-picture montage is essentially the same as the un-synchronized revolving method in the picture-scroll drawing, for example, and the cutback also has its counterpart in the scroll. In the picture scroll and the motion picture we can see the living conditions of a man in the city and his lover in the country synchronously, alternately, and in parallel. Obviously,what we see in the scroll exists only in our minds; but the same is true of the motion picture, even though it shows us real objects and people and places. It is not because they are often part of an imagined story. A newsreel montage of London, Tokyo, and New York shows us real cities, but to see New York one moment and Tokyo the next is inconsistent with reality, and demands that we accept a negation of time and space. In a sense, then, double exposure, montage, and cutback are techniques which transform reality into idea.What we actually see in a motion picture or a picture scroll is the visualization of an idea. It does not matter whether individual shots and drawings are literal representations if they help to reveal the idea. For example, the Fukinukiyakata (no-roof-house-picture) in the picture scroll allows us to look down from above on a roofless house with the interior plainly visible. In the real world, houses are roofed, but in the world of the picture scroll we accept the roofless house as real. In fact, in our imagination, the house is roofed, but we are able to see through it. Similarly, in the motion picture, we may view a room full of people from above, as in The Merry Widow (1934), in which a ballroom scene is photographed from the chandelier. In our imaginations, it is not the camera but we, ourselves, who view this scene from above. Only in the imagination can one stride over the mountain or fly over the fields quite freely, as in the picture scroll of Shigisan Temple, or in the many modern motion pictures in which we see objects from all angles. The camera, too, lets us fly over fields.The distortion of reality is more apparent in the picture scroll because it becomes, frequently, a distortion of perspective. For example, to achieve an effect similar to that of the motion-picture close-up, picture-scroll artists drew some figures extraordinarily large in comparison with the objects surrounding them. The best examples are in the mountain hermitages seen in the Shigisan- Engi and the figures praying on the summit in the Egaratenjin- Emaki. Perspective is intentionally disregarded and the figures ex-aggerated so that the eyes are attracted to the most important ones; the human figures gradually become larger than the mountains, which finally seem no larger than those of a miniature garden.It is no accident that the picture scroll and the motion picture use similartechniques. Both must be dynamic in order to develop a story moment by moment, attracting and holding the spectator's interest in picture after picture. The Bandainagon Ekotaba pic-ture scroll, for example, opens with a picture of men rushing to and fro. They frown, cry, wave hands, and point toward some-thing. More men appear, and the excitement increases. We see a gate and the uproar comes to a climax. Some of the throng climb a stone hedge. Suddenly, through the gate, black smoke appears and flames leap against a long line of people. Next moment we see that the open gate is aflame.The rapid tempo of the fire scene helps to create the impression of people rushing about and, what is more important, speeds the development of the story toward a climax. Most American movies attract interest through just such direct and rapid plot develop-ment in the opening scenes.In the further development of the plot, the picture scroll uses a technique similar to the motion-picture montage. The action is abbreviated and the climaxes of several scenes are presented in quick succession. Sometimes this technique of abbreviation is used to show the passage of time, as in a pictorial biography of St. Ippen in which, between pictures of action, is a picture of a running stream and pampas grass waving in the wind, indicating a passage of time. The next picture shows a priest lying on his deathbed surrounded by grief-stricken people. The next picture shows only the saint's face covered with a white cloth. He is dead.It seems clear enough that there are strong resemblances between some aspects of the Japanese picture scroll and the modern motion picture. The Japanese animated cartoon should use, in the modern medium, the traditions it inherits from the past. The most important thing the Japanese animated cartoon can learn from the picture scroll is its use of imaginative power. The scroll came out of a backward and stagnated feudal Japan; under such oppression people generally find release in their imaginations rather than in reality. When the picture scroll presented real scenes as though viewed from high above, it implied a celestial point of view, expressing the idea that salvation should be sought in the unearthly world.The heavier the oppression, the more people escaped to such salvation and livedin their imaginations. Yet even in the most imaginative scrolls a concern with the realities of life shows itself. Imagination does not necessarily make us forget realities but can stimulate our awareness of them. The picture scrolls that excel in imagination excel also in realism.Among these are Choju Giga Zukan (picture scroll of birds and beasts), Gaki-Zoshi (storybook of famished devils), and Hyakki- Yako-Zu-Emaki (picture scroll of pandemonium). The animals in Choju Giga Zukan are anatomically correct, but the scroll depicts the corrupt living conditions of the aristocracy and clergy in the end of the Heian era, a thousand years ago, by showing the rats in full court dress and the frogs wearing red skirts with lotus leaves in their hands, and so on.The Gaki-Zoshi pictures not only famished devils but actually the starving people in the Kamakura era, four hundred years ago. The abominable group of famished devils, their hands and feet thin, like dead branches, bellies strangely swelling, hair growing disheveled, and uncanny eyes shining in vain, cannot fill themselves. The more they eat, the hungrier they become; the more they drink, the thirstier they are. They are avarice itself, sauntering hither and thither only to eat and drink. They grasp every filthy thing. Because everybody recognizes that these ugly devils lie hidden in his soul, the ghostly scenes terrify us even now. Here are depicted the real vices through the devils of an unreal world.The Hyakki-Yako-Zu-Emaki is a caricature of the Tokugawa era of the eighteenth and nineteenth centuries. At the beginning of the scroll we see a big toad dragging a handcart to a feast. A rat is pointing ahead. Two others, holding a sutra desk, stand on either side. On the front of the cart, a long-nosed goblin's face is peeping out; from its back window a moon-faced woman is smiling evilly. Under her exaggeratedly separated eyebrows are crescent-shaped eyes and a dumplinglike nose stuck on to the flat face as if blown there by the wind. The painter obtains an effect of evil by showing this terribly unbalanced face from the window. Later, in a scene of a revel, the utensils are personified. There are con-fused candlesticks with faces and hands, bells with eyes and noses, whistling wine cups, and dancing tops of fence posts, centering around the long-nosed goblin and the moon-faced woman. A hatchet with eyes, putting on armor, advances toward a dead tree that is holding up both hands,about to run away. Through such scenes the picture scroll describes a feudalistic monarch's self-satisfaction, his retainers' ignorance, and their corrupt living con-ditions. The scenes are full of fun rather than mystery, but we find nothing humorous in them at all. The drawing style of the pictures corresponds to the content; there are no straight lines but only lines that express ripeness and decomposition. The living conditions and feudal atmosphere are made more vividly real by being presented imaginatively.When the modern Japanese animated cartoon portrays man's real inner feelings and desires with this kind of imaginative power, it will become an art of a higher order.译文：日本艺术和动画卡通太平今村是日本著名的电影评论家之一，他撰写了大量关于社会和美学电影方面的书籍，以及编辑Eiga日本文化（电影文化），该杂志是日本唯一的具有运动画面的杂志。
卡通作文模板英语翻译版
卡通作文模板英语翻译版Title: Cartoon Essay Template (English Translation)。
Introduction。
Cartoons are a popular form of entertainment for people of all ages. They can be found in various forms, including television shows, movies, comic books, and more. In this essay, we will explore a template for writing an essay about cartoons, covering various aspects such as characters, plot, humor, and moral lessons.Characters。
One of the most important aspects of a cartoon is its characters. These can range from human protagonists to talking animals and mythical creatures. Each character has its own unique personality, appearance, and role in the story. For example, in the popular cartoon "SpongeBob SquarePants," the main character, SpongeBob, is a cheerful and optimistic sea sponge who works at a fast food restaurant called the Krusty Krab. His best friend, Patrick Star, is a dim-witted but lovable starfish. The interactions between these characters drive the humor and plot of the show.Plot。
动画论文外文翻译
外文文献翻译2.5.1译文：看电影的艺术1930年代中期，沃尔特·迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。
于1937年下半年首映的动画片《白雪公主与七个小矮人》为动画片树立了极高的标准，至今任然指导着动画艺术家们。
1940年，这一年作为迪斯尼制片厂的分水岭，诞生了《木偶奇遇记》和《幻想曲>。
这些今天成为经典的作品在接下来的二十年中被追随效仿，产生了一系列广受欢迎的动画娱乐作品。
包括《小飞象》，《灰姑娘》，《爱丽丝漫游仙境》，《彼得·潘》，《小姐与流浪儿》，他们的故事通常源自广为人知的文学故事。
这些影片最不好的地方在于它们似乎越来越面向小观众。
在1966年第四你去死后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。
然而1989年，对于我们所有孩子来说，动画《小美人鱼》赋予了迪士尼新的生命活力（就像animation这个词本身的定义一样——使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。
两年后，《美女与野兽》问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。
更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品——包括《狮子王》，《阿拉丁》，《花木兰》——延续了迪士尼的经典传统：大胆醒目的视觉效果、精致的剧本，以及我们在所有伟大的电影中，不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。
迪士尼的新版《幻想曲》，又被称为《幻想曲2000》，把原版中的部分片段与新的创作部分糅合在一起。
（而且，按照迪士尼管理层的说法，该片是首部在IMAX巨幕影院首映的剧情长片。
）亨利·塞利克执导了蒂姆·波顿出品的两部影片，即《圣诞惊魂夜》和《飞天巨桃历险记》——前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德·达尔的畅销儿童书，该影片以真人实景拍摄开始。
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外文文献翻译2.5.1译文：看电影的艺术1930年代中期，沃尔特·迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。
于1937年下半年首映的动画片《白雪公主与七个小矮人》为动画片树立了极高的标准，至今任然指导着动画艺术家们。
1940年，这一年作为迪斯尼制片厂的分水岭，诞生了《木偶奇遇记》和《幻想曲>。
这些今天成为经典的作品在接下来的二十年中被追随效仿，产生了一系列广受欢迎的动画娱乐作品。
包括《小飞象》，《灰姑娘》，《爱丽丝漫游仙境》，《彼得·潘》，《小姐与流浪儿》，他们的故事通常源自广为人知的文学故事。
这些影片最不好的地方在于它们似乎越来越面向小观众。
在1966年第四你去死后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。
然而1989年，对于我们所有孩子来说，动画《小美人鱼》赋予了迪士尼新的生命活力（就像animation这个词本身的定义一样——使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。
两年后，《美女与野兽》问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。
更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品——包括《狮子王》，《阿拉丁》，《花木兰》——延续了迪士尼的经典传统：大胆醒目的视觉效果、精致的剧本，以及我们在所有伟大的电影中，不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。
迪士尼的新版《幻想曲》，又被称为《幻想曲2000》，把原版中的部分片段与新的创作部分糅合在一起。
（而且，按照迪士尼管理层的说法，该片是首部在IMAX巨幕影院首映的剧情长片。
）亨利·塞利克执导了蒂姆·波顿出品的两部影片，即《圣诞惊魂夜》和《飞天巨桃历险记》——前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德·达尔的畅销儿童书，该影片以真人实景拍摄开始。
《飞天巨桃历险记》对暴力画面和重大恐惧（比如说，离弃）的表达和处理毫无掩饰，表达的真实感受对成人来说和对儿童一样生动鲜明，而蒂姆·波顿的影片《僵尸新娘》，仅仅从名字上就已经显示出影片内容和该幽默表达的“成人”特征。
乔治·米勒执导的可爱的《小猪宝贝》，曾被提名为奥斯卡最佳影片奖，受到评论界的赞誉，票房却不理想，更少有人看其续集《小猪宝贝：小猪进城》前后两部都混合了真人实拍、玩偶以及计算机动画。
公众对《小猪进城》中各种动物卷入其中的滑稽暴力场面的反应，让人确定影片为数不多的观众的主体极可能是成人，而不是儿童。
很多现代动画剧情长片，在一定程度上都有黑色（有时甚至是毛骨悚然的）幽默特征，类似的“成人”娱乐成了新近出现的第三类动画剧情片的主打要素。
这一类动画片完全由计算机技术一点一点地生成，通常这个过程基本综合手绘图像的动作平滑特性和定格动画玩偶的表面可塑性。
第一批此类动画片是1955年上映的《玩具总动员》，由约翰·拉塞特为他的皮克斯动画工厂执导，这正是一直以来我们希望在儿童影片看到的。
但是影片也出现了一些镜头，在镜头中，一个小孩在玩玩具，将他们拆毁并重新组装成丑陋可怕的新形势。
它出色的《玩具总动员2》进一步表明了影片创作者对表现人性更阴暗一面的兴趣。
皮克斯（现在已被迪斯尼公司拥有）也曾制作过《怪物公司》，影片中可爱的怪兽对儿童具有很大的吸引力，然而影片具有的讽刺式幽默明显地面向成年人。
皮克斯还制作了其他类似的动画片，包括《海底总动员》、《超人总动员》和2006年的《汽车总动员》，在山野票房上与电影评价界都获得了巨大的成功。
最后，如果要寻找现代动画剧情片正在开发成人作为其主要观众的证据，我们只需去看一下《埃及王子》。
这部影片以世界上最具原型性的神话叙事之一（更不必说它还是犹太教和基督教共有的圣典）作为它的表现主题，除此之外，影片还利用相当风格化和复杂巧妙的视觉模式来表现莫西领导下的众多人物形象。
不仅如此，有史蒂文·凯特辛蓓阁和大卫·格芬组成的梦工厂创作团队断然拒绝授权生产任何与影片相关的迷你玩具，或者将产品广告语快餐连锁店捆绑发布，从这一点上，我们马上意识到动画剧情偏成熟了。
凯特辛蓓阁这样概括他们的主张：“我们尽量不妥协——不在电影里创作可爱的角色，换觉话说，我们不想让一头骆驼变得好玩。
”影评家查理德·考利斯形容《埃及王子》是“一次伟大的实验，一次动画片领域的十字军圣战运动，突破了阻碍剧情动画片发展的狭窄局限”。
罗杰·艾尔伯特则将该影片看做在动画创作目的、创作领域和艺术成就方面具有革命性意义的作品予以热烈追捧。
约瑟夫·M.博格斯丹尼斯·w.皮特里《看电影的艺术》 2006.122.5.2原文：The art of watching filmsmid-1930s that Walt Disney became obsessed with the idea of entertaining viewers with animated films that were themselves the main show. Premiering in late 1937, Disney's Snow White and the Seven Dwarfs set rigorously high standards that today still guide animation artists. Like the puppet shows from which they evolved, the Disney studio's watershed year of 1940, both animated films have long been seriously em-Pinocchio and Fantasia appeared. These now braced by the world of international art. In fact, classic works were followed during the next two as Baseline's Encyclopedia of Film indicates, decades by a series of popular animated enter the first animations were also the first move tainments (including Dumbo, Cinderella, Alice in pictures. Victorian optical toys such Wonderland, Peter Pan, and Lady and the Tramp), whose stories frequently originated in well-known as conversation pieces for parlors . . literary narratives. The least-accomplished of normally contained drawings these movies appeared to be targeted more pro-depicting succeeding states of an action gressively at younger audiences .After Disney's death in 1966, his studio conduced an illusion of movement . 14tinued to make drawn animated films, but the creative energy lessened, and the company's. Later in the nineteenth century, the illu-focus shifted to producing live-action films. Sions produced through these simple drawings Then, for the child in all of us again, Disney an-of early animation developed into those of still imation was given new life (as the word anima-photographs being manipulated swiftly, either tion itself is defined) in 1989 by The Little mechanically or via projection. As the cinema Merniaid, which led an astonishing string of new progressed along more or less realistic lines, musical animated features. Two years later, though, such animation pioneers as Winsor Beauty and the Beast emerged from an artistic McCay, a New York newspaper cartoonist best process that utilized computers to assist in the known for his Gertie the Dinosaur(1914), began conventional drawing techniques, and the film to explore possibilities within the fantasy worlds won an Academy Award nomination for Best of animated film. By 1928, when Walt Disney Picture, the first such accolade for an animated created Steamboat Willie (and first introduced feature. Like these two films, the best ones that the world to a talking Mickey Mouse), animated followed—including The Lion King, Aladdin, and shorts, shown before feature films, were already Mw/an—continued the classic Disney conven-being produced in abundance by such artists tions: bold visuals, shrewd scripts, and both theas Max Fleischer (creator of Betty Boop) and matic universality and surprise that we find in all Walter Lantz (Woody Woodpecker). Later the great films, animated or otherwise. Disney's Warner Brothers luminaries Chuck Jones, Tex newer version of Fantasia, called Fantasia 2000, Avery, and Fritz Freleng (among many others) incorporated segments from the 1940 version gave audiences the energetic antics of a whole with newly created ones (and, according to Dis-stable of animated personalities, including Bugs ney executives, was the first feature film to pre-Bunny and Porky Pig. But it was not until the miere in the giant-screen ^ A X theaters).Henry Selick directed both Tim Burton's The Nightmare Before Christmas and James and the Giant Peach—the former a stop-action film that is wholly original and sometimes immensely frightening in its images, the latter an adaptation of Roald Dahl's popular children's book that begins in live action and segues impressively into stop-action animation before returning to live action at its end. James and the Giant Peach pulls no punches with its presentation of violence and its treatment of monumental fears (abandonment, for example) that are no less vividly real for adults than for children, and just the title of "adult" nature of its subject matter and humor. George Miller's charming Babe (1995), nominated for a Best Picture Oscar, and its critically acclaimed, poorly released, and little-seen sequel, Babe: Pig inthe City (1998), both combine live action, puppets (in the form of intricate ani-matronic devices), and computer animation. Public reaction to the comic violence involving animals in Pig in the City ensured that its small and primary audience would most likely be adults, not children.Throughout many modern animation features, a certain dark, sometimes even macabre, humor abides. A similar "adult" amusement has also become a staple in the third and latest type of animated feature film, which is generated solely by art filtered through computer technology. This process often appears almost to synthesize tlie smooth movement of drawn images and the plastic surfaces of stop-motion puppets. The first such film, 1995's Toy Story, directed by John Lasseter for his Pixar studio, contains the sort of gentle satire that we have come to expect in children's films. But it also presents a sequence in which a child plays with dolls that have been mutilated and reassembled in monstrous new shapes. And the excellent sequel, Toy Story 2 (1999), provided further evidence of its creators' interest in the darker side of all life Pixar (now owned by Disney) has also produced Monsters, Inc., whose loveable monsters appealed to children while its satiric humor was clearly aimed at adults, and other large commercial and critical successes, including Finding Nemo, TheIncredibles, and 2006's Cars.Finally, if we seek proof that contemporary animated feature films now invite adults to be a major part of their audience, we need only turn to The PrinceofEgypt, (Figure 5 .42). Here is a movie that takes as its subject one of the most archetypal narratives of world myth (not to mentionJudeo-Christian scripture) and, in addition, envisions its Moses-led characters through immensely stylized and sophisticated visual modes (including elongated El Greco faces). Further, we immediately recognized that the animated feature has grown up when its makers, the Dreamworks team of Steven Spielberg, Jeffrey Katzenberg, and David Geffen, flatly refused to authorize any miniature toy or product advertising tie-ins with fast food chains. Katzenberg summarized their attitude: "We tried to be uncompromising here—there's nothing cute and adorable in the film. In other words, we didn't make a camel funny/'16Film reviewer Richard Corliss described The Prince of Egypt as "a grand experiment, a crusade to expand the frustratingly narrow boundaries of feature animation."!? And Roger Ebert welcomed the film as revolutionary in its aim, scope, and artistic achievements.Joseph M. Boggs Dennis W. Petrie 《The art of watching films》2006.12。