附录B 外文参考文献（原文）
With the wave of economic globalization, animation draws an increasing concern across the world not only as a unique form of artistic expression, but also as a form of culture
In academia circle, comparative study of Chinese and Japanese animation is still in a basic stage where many problems exist. Now there exist several academic points of view:some believe that the China animation before the 1990s (i.e. puppet animation, paper-cut animation, origami animation, etc.) are too local and too traditional to be compared to Japanese animation; while others think that the Chinese animation is fine to be traditional or even indigenous as it could be seen as international as well. Some other go even further who try to completely duplicate the 'Japanese success', and copy everything, from form to content, from style to costume, from Japan, making our animation 'Japanized' animation. The author argues that all these points are more or less subjective and sided. They fail to analyze the problem systematically, nor do they see these phenomena from their deep roots. Indeed, the author may not finish an all-rounded comparison between Chinese and Japanese animation in this article, however, the article will try to focus on the perspective of modeling, and try to pin on the original image of Chinese, which would hopefully further help develop Chinese animation.Animation does not origin from either China or Japan, and the developments of animation in there two countries are similar, both through imitation-being mature-lagging behind-new development. But similar path of development head towards different creative paths, resulting in the different styling way of modeling. Though both belong to Asia, China and Japan do have huge difference in cultural aspects, which in consequence create differences in animation styling. Modeling the role of Japanese animation mostly compose imaginary components, where bond shape tightly with age throughout the whole animation; whereas in Chinese animation we could indeed find traditional Chinese elements in Chinese animation but could not say that this advantage is inherited properly. For example in the very popular series of 'Xiyangyang', the overall popularity is mainly brought by successful brands effect rather than exceptional shaping. Japanese animation is famous for its fast transformation in switching pictures, with which inner emotions of the main characters could be fully displayed, while Chinese animation, mostly static scenes, lack such motional scenes, inevitably leading to aging and dull of the impression of the animation. In the aspect of color shaping, Japanese animation finds the right color spectrum of contemporary animation, especially embodies the color of war and bloody repression, whereas Chinese animation combines both Japanese style and western style in color, lacking their own feature. We draw conclusion from this that being the same as Asian countries, Japan and China are no different in imitating from the very beginning, learning from western animation, but after a while drive onto different path where Japan finally finds its own style, and where China still wonders in front of which feature it should end up with in the end.From comparison between Japanese and Chinese animation style, the author believes that:(1) in role modeling, China is positioning itself contemporary animation in an unclear stand, causing confusion in the role of modeling; it also unsuccessfully use a large number of ink application, the role of modeling has no distinct feature in comparison with the Japanese animation, and has a long way to go in finding its own characters. (2) Chinese animation is too static and too stereotyped in the movement of scenes; picture of conversion could not make the best stretch of suspense, and could have a lot to learn from the Japanese animation. (3) Imperfections of color spectrum in Chinese animation lead to the unclearness of color shaping, with Japanese animation color model we could find suggestive solutions more or less.Todayrsquo;s Chinese contemporary animation is still in a difficult transition period, some animators propose to learn directly from Japanese animation, but a large part of animation is not only similar in modeling, but also in content, resulting in a 'Japanized animation' phenomenon in China. Another reason for this phenomenon is our confusion of concept and incompleteness of the whole animation industry. We should know that after all we will have to discover our own animation concept and operative way of the industry, instead blindly copying the Japanese one. As a result, the author applies to way of comparison, and discuss differences in modeling between Chinese and Japanese animation, so as to deploy valuable attempt in the future of Chinese animation.
On the century five, the 60rsquo;s, our animation work once stood in the world mountain peak, in our work was flooding 'the Chinese element', our modelling, the scene, the story were all deriving the nutrient and the inspiration from our broad and profound traditional culture. May with again develop along with our animation industry revival, in our domestic product original animation work 'the Chinese element' bit by bit the flaw, gradually actually has been walking into one kind of loss actually, blind development condition-imitation and plagiarism. But takes a broad view the world animation industry, Japan has Japanrsquo;s style, US has USrsquo;s style, then our China? We should have own style, derives own from ours traditional culture esthetics spirit, can walk, affects the world with 'the Chinese element'.China is the world. Our Chinese nation have the rich broad and profound historical culture and the national culture, only then integrates these to in ours animation work, the work only then can have the vitality. At present, CCTV also unceasingly is promoting from the script to the ma
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附录A 外文参考文献（译文）
在经济全球化的浪潮中,动画作为一种独特的艺术表现形式,也作为一种文化形态得以在世界范围内广泛传播,受关注的程度越来越高。
在学术界,关于中日动画的比较研究还处于一个较为基础的阶段,存在着不少问题。现在学术界存在着几种观点：一部分人认为二十世纪九十年代前中国的动画(木偶动画、剪纸动画、折纸动画等)太过于本土、太过传统,与日本动画相比显得粗糙而幼稚；另一部分人认为中国动画要从本土、从民族出发,越本土化、民族化越好,本土的、民族的才是世界的；还有一部分人看到日本动画在全世界范围内都取得成功,觉得应该去模仿,甚至最后发展到形式、内容、造型等全部的复制,中国的这部分动画与日本动画就像是一个模子翻出来的,可谓是中国“日卡”。这些说法在笔者看来都是主观的、片面的,人们并没有从系统上分析研究这些现象,也没有找到其存在的根本原因。当然,在本文中笔者无法从太全面的角度对中日动画进行比较研究,仅能从造型的角度出发,以差异性来探讨中日动画,窥探中国动画造型本来的面目,使人们不要一再的陷入片面的、不完整的动画造型发展误区。为此,本文紧扣中日动画造型的差异性,力图为中国动画的发展提供一个新的参考。对于中日两国来说,动画都是舶来之品。就发展来说,动画在两国的发展道路相似,基本上都经过了模仿——成熟——滞后——再发展的历程,但相似的发展道路却逐渐走向不同的创作路径,从而造成了中日动画两种不同的造型风格。中国和日本同属于亚洲人,血统和传承中存在一致性,但是民族文化的差异造就两种不同的动画造型风格。日本动画角色造型中想象的成分居多,造型与时代紧紧的结合在一起,并且贯彻于动画造型设计的始终,而中国动画的角色造型就本土水墨动画而言,角色造型中确实有中国传统元素中不可替代的优势在其中,但这种优势并没有得到很好的继承,就算是现在很受孩子们欢迎的《喜洋洋与灰太狼》,它之所以成功更多的是凭借优异的品牌效益,而不是造型,中国动画造型并没有取得太大的突破；在动画场景和镜头画面变化方面,日本动画的画面转化速度快,频率高,充分利用画面的切换来表现角色内心情绪和情节的变化,在场景制作上也存在自己的优势,而中国动画的画面变化过分稳定,静态场景居多,画面动不起来,场景的转换少、变化少必然导致动画叙述语言俗而不新；在动画色彩造型方面,日本找准了当代的动画色彩谱系,对于战争和血腥的诠释是日本民族压抑的本性在动画造型中的鲜明体现,而中国当代色彩谱系中既有西方色彩观念,也有日本色彩观念在其中,并没有形成自己的色彩谱系,当然也有动画的色彩造型取得了成功,但是这种成功更多的不过是运气使然。这个差异性性提醒我们：同样是亚洲国家,日本和中国一样最开始都是模仿,学习和吸收西方动画造型的有力因素,但日本形成了具有独特优势的动画造型风格,反观中国动画,它学西方、学日本,东拼西凑,导致了中国当代动画既不像西方也不像日本,既不本土也不当代,最终丧失了自己的立场,丢失了自己的发展方向,越来越没有自己的动画造型特色。通过对中日动画造型差异性研究,笔者以为：(1)在角色造型方面,中国当代动画中本身定位不清晰,导致角色造型混乱,水墨动画的大量应用不成功,与日本动画角色造型相比个性不鲜明,更像是各国动画的杂交体,中国动画要坚持原创性,找准自己的角色个性；(2)中国动画与日本动画相比,在场景和镜头画面变化造型方面过于静止,太过模式化,画面的转化无法使悬念得到最好的伸展,中日动画在场景和镜头画面变化中所存在的差异性可以为中国动画场景和镜头画面变化造型做提示性研究；(3)中国动画色彩谱系的不完善导致色彩造型的不清晰,与日本动画色彩造型的差异性进行比较可以为中国动画色彩谱系的建立起到提示性的作用。现如今的中国当代动画尚处在一个艰难的转型时期,有些动画创作者主张学习日本动画,但其中很大一部分动画不仅在造型上的相似,而且内容也基本相同,可以说是在盲目的复制日本动画,从而导致了一种中国“日卡”现象。中国动画创作理念的混乱不堪和动画产业模式的不健全也是造成这一现象的原因之一,中国动画创作终究要有自己的造型创作理念和健全的产业运作模式,而不能总是不断模仿、重复日本动画的造型。
上世纪五、六十年代,中国的动画作品曾经站在了世界的巅峰,作品中充斥着“中国元素”,片中的造型、场景、故事无不从我国博大精深的传统文化中汲取着养分与灵感。可随着中国动画产业的复兴与再发展,国产原创动画作品中的“中国元素”却正在一点一点缺失,逐步走入了一种丢失自我,盲目发展的状态—“模仿与抄袭”。但放眼世界动画产业,日本动画有其自身的风格,美国动画亦有其自有的风格,中国同样应该拥有自己的风格,从我国的传统文化中去汲取自己的美学精神,让中国的动画作品能够走出去,用“中国元素”影响世界,中国的才是世界的。中华民族拥有丰富的博大精深的历史文化和民族文化,只有把这些融入到动画作品中,作品才会有生命力。目前,央视也在不断推出从剧本到制作风格都非常“中国”的作品加以出口。纵览我国传统文化,诸子百家、传统文学、汉语汉字、传统建筑等等都有着杰出成就。我国的传统建筑以其独一无二的特色在世界建筑史上留下光辉的足迹。从古文献描述及绘画中关于传统建筑形象直到现存的传统建筑来看,我国传统代建筑在平面布局上有一种简明的规律——每一处宫殿、官衙、住宅、寺庙等建筑,都是由若干单座建筑和一些围廊、围墙之类环绕成一个个庭院而组成的。多数庭院都是前后串连起来的经过前院而后到达后院,这种前后庭院的组织是我国封建社会“长幼有序,内外有别”的思想意识的产物。家里的主要成员,或是应和外界隔绝的成员(如皇亲贵戚家庭的少女),往往就生活在离外门很远的庭院里,这就形成了一个层层深入的空间组织。宋代欧阳修《蝶恋花》词中有“庭院深深深几许”的词句,古人曾以“侯门深似海”来形容皇亲贵戚的居处,这些都形象地说明了中国传统建筑在布局上的重要特征。但反观我国近年来的原创国产动画,这些优秀的民族建筑特征却是难得一见。在振兴我国动画产业的大背景下,提出将传统文化中的建筑造型元素融入到动画场景设计,分析传统文化中的建筑造型元素在动画场景设计中的应用。旨在推广“中国元素”在动画中的全面应用,并引起对“传统文化”在动画中应用的思考。
具体到我国的动画创作,与美国、日本的优秀动画作品中的原型形象相比,我国有丰富的文化资源,也有独特的动画原型。但是我国在原型化动画创作上也存在很多不足。动画是人类梦想得以实现的舞台,动画的原型意味是其拨动观众心弦的“秘密”。对动画艺术的原型意味研究归根结底是对动画本体进行研究。
在现代社会,动画,尤其是二维动画作为一种独特的艺术形态,可以很好地表现和发扬中国传统文化艺术。在中国历史上,动画创作一直与传统文化、民族艺术有着不可分割的关系,而我国传统文化中神话、戏曲、中国画等则是取之不尽的宝库。二维动画和中国传统文化、传统艺术有着很多相通的地方,尽管动画是现代科技的产物,属于新兴艺术的一种,而传统民族文化则渊远流长,博大精深。但运用这种现代艺术表现手法,能够更好地体现传统文化艺术的精髓和魅力,并且给与之新的视觉面貌,这符合时代的要求,对于传统艺术的发展也有着推动作用。
附录B 外文参考文献（原文）
With the wave of economic globalization, animation draws an increasing concern across the world not only as a unique form of artistic expression, but also as a form of culture
In academia circle, comparative study of Chinese and Japanese animation is still in a basic stage where many problems exist. Now there exist several academic points of view:some believe that the China animation before the 1990s (i.e. puppet animation, paper-cut animation, origami animation, etc.) are too local and too traditional to be compared to Japanese animation; while others think that the Chinese animation is fine to be traditional or even indigenous as it could be seen as international as well. Some other go even further who try to completely duplicate the 'Japanese success', and copy everything, from form to content, from style to costume, from Japan, making our animation 'Japanized' animation. The author argues that all these points are more or less subjective and sided. They fail to analyze the problem systematically, nor do they see these phenomena from their deep roots. Indeed, the author may not finish an all-rounded comparison between Chinese and Japanese animation in this article, however, the article will try to focus on the perspective of modeling, and try to pin on the original image of Chinese, which would hopefully further help develop Chinese animation.Animation does not origin from either China or Japan, and the developments of animation in there two countries are similar, both through imitation-being mature-lagging behind-new development. But similar path of development head towards different creative paths, resulting in the different styling way of modeling. Though both belong to Asia, China and Japan do have huge difference in cultural aspects, which in consequence create differences in animation styling. Modeling the role of Japanese animation mostly compose imaginary components, where bond shape tightly with age throughout the whole animation; whereas in Chinese animation we could indeed find traditional Chinese elements in Chinese animation but could not say that this advantage is inherited properly. For example in the very popular series of 'Xiyangyang', the overall popularity is mainly brought by successful brands effect rather than exceptional shaping. Japanese animation is famous for its fast transformation in switching pictures, with which inner emotions of the main characters could be fully displayed, while Chinese animation, mostly static scenes, lack such motional scenes, inevitably leading to aging and dull of the impression of the animation. In the aspect of color shaping, Japanese animation finds the right color spectrum of contemporary animation, especially embodies the color of war and bloody repression, whereas Chinese animation combines both Japanese style and western style in color, lacking their own feat
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