動(dòng)畫機(jī)器 : 動(dòng)畫的媒體理論
通過對一些重要的日本動(dòng)畫作品、工作室、動(dòng)畫師和動(dòng)畫理論的細(xì)致分析，本書定義了日本動(dòng)畫的視覺特征以及那些特定的、“動(dòng)畫性”效果的具體意義。不同于從文化內(nèi)涵、創(chuàng)作理念、敘事目的、內(nèi)容主旨進(jìn)入文本的研究，作者從技術(shù)的角度出發(fā)，將動(dòng)畫作為一種獨(dú)特的運(yùn)動(dòng)影像來考察，通過其生產(chǎn)方式和技術(shù)、創(chuàng)作者之間的互動(dòng)，揭示出動(dòng)畫本身是如何“處理”技術(shù)問題的，或者說，人們是如何運(yùn)用動(dòng)畫的思維方式來思考技術(shù)問題的。為了闡明這一理論的實(shí)際意義,作者在書中詳盡地考察了一系列重要的動(dòng)畫作品，包括宮崎駿的《天空之城》、庵野秀明的《藍(lán)寶石之謎》和改編自 CLAMP 漫畫原作的《人形電腦天使心》，清晣地脈絡(luò)層層遞進(jìn)，用獨(dú)特的方式重新講述了日本動(dòng)畫的戰(zhàn)后發(fā)展歷程。本書引用德勒茲、伽達(dá)利、海德格爾、西蒙頓等人的技術(shù)理論，適當(dāng)借鑒電影理論、精神分析和女性主義學(xué)說，并對日本學(xué)者的相關(guān)理論有所批評(píng)。...
通過對一些重要的日本動(dòng)畫作品、工作室、動(dòng)畫師和動(dòng)畫理論的細(xì)致分析，本書定義了日本動(dòng)畫的視覺特征以及那些特定的、“動(dòng)畫性”效果的具體意義。不同于從文化內(nèi)涵、創(chuàng)作理念、敘事目的、內(nèi)容主旨進(jìn)入文本的研究，作者從技術(shù)的角度出發(fā)，將動(dòng)畫作為一種獨(dú)特的運(yùn)動(dòng)影像來考察，通過其生產(chǎn)方式和技術(shù)、創(chuàng)作者之間的互動(dòng)，揭示出動(dòng)畫本身是如何“處理”技術(shù)問題的，或者說，人們是如何運(yùn)用動(dòng)畫的思維方式來思考技術(shù)問題的。為了闡明這一理論的實(shí)際意義,作者在書中詳盡地考察了一系列重要的動(dòng)畫作品，包括宮崎駿的《天空之城》、庵野秀明的《藍(lán)寶石之謎》和改編自 CLAMP 漫畫原作的《人形電腦天使心》，清晣地脈絡(luò)層層遞進(jìn)，用獨(dú)特的方式重新講述了日本動(dòng)畫的戰(zhàn)后發(fā)展歷程。本書引用德勒茲、伽達(dá)利、海德格爾、西蒙頓等人的技術(shù)理論，適當(dāng)借鑒電影理論、精神分析和女性主義學(xué)說，并對日本學(xué)者的相關(guān)理論有所批評(píng)。在技術(shù)哲學(xué)和思想史的交集中，作者以前所未有的深度探索了日本動(dòng)畫內(nèi)在的物質(zhì)材料屬性，為批判地考察日本動(dòng)畫及相關(guān)媒介提供了理論基礎(chǔ)。
Thomas Lamarre is a scholar of media, cinema and animation, intellectual history and material culture at the University of Chicago, with projects ranging from the communication networks of 9th century Japan (Uncovering Heian Japan: An Archaeology of Sensation and Inscription, 2000), to silent cinema and the global imaginary (Shadows on the Screen: Tanizaki Jun’ichirō on Cinema ...
Thomas Lamarre is a scholar of media, cinema and animation, intellectual history and material culture at the University of Chicago, with projects ranging from the communication networks of 9th century Japan (Uncovering Heian Japan: An Archaeology of Sensation and Inscription, 2000), to silent cinema and the global imaginary (Shadows on the Screen: Tanizaki Jun’ichirō on Cinema and Oriental Aesthetics, 2005), animation technologies (The Anime Machine: A Media Theory of Animation, 2009) and on television infrastructures and media ecology (The Anime Ecology: A Genealogy of Television, Animation, and Game Media, 2018). Current projects include research on animation that addresses the use of animals in the formation of media networks associated with colonialism and extraterritorial empire, and the consequent politics of animism and speciesism.
His work as a translator includes major works from Japanese and French: Kawamata Chiaki’s novel Death Sentences(University of Minnesota, 2012); Muriel Combes’s Gilbert Simondon and the Philosophy of the Transindividual (MIT, 2012); and David Lapoujade’s William James: Pragmatism and Empiricsm (Duke University Press, 2019).
He has also edited volumes on cinema and animation, on the impact of modernity in East Asia, on pre-emptive war, and formerly, as Associate Editor of Mechademia: An Annual Forum for Anime, Manga, and the Fan Arts, a number of volumes on manga, anime, and fan cultures. He is co-editor with Takayuki Tatsumi of a book series with the University of Minnesota Press entitled “Parallel Futures,” which centers on Japanese speculative fiction. Current editorial work includes a co-edited volume on Chinese animation with Daisy Yan Du and a co-edited volume on Digital Animalities with Jody Berland.
He previously taught in East Asian Studies and Communications Studies at McGill University. As James McGill Professor Emeritus of Japanese Media Studies at McGill University, he continues to work with the Moving Image Research Laboratory, funded by the Canadian Foundation for Innovation, and partnered by local research initiatives such as Immediations, Hexagram, and Artemis.