色彩在动画片场景设计中的表意外文翻译资料

Animated autoethnographies:stop motion animation

This article will present the autoethnographic animations and processes from three select preservice art educators that enrolled in the course. These students created stop motion animations using small objects, toys, and their bodies; accessing culturally constructed fears, investigating impactful moments of childhood, and exhibiting unique representations of self. The diverse student examples in this article present a model of inquiry that encourages the development of self by finding place in chaos, loving the unknown, embracing uncertainty, and turning shame into a celebration of life.

Autoethnoegraphy is a method of qualitative research that merges autobiography and ethnography and provides a self-reflexive way of knowing that attempts to break away from the confines of disciplinary constraints(Duncan, 2004; Ellis,1997; Ellis amp; Bochner, 2000; Ellis, Adams amp; Bochner, 2011;Griffiths,2011; Humphreys,2005;Reed-Danahay, 1997). I discovered autoethnography during my doctoral course work and recognized an increased level of critical reflexive dialogue (Grifliths,2011) in my own studies and related artworks. I started to combine the narrative-based vulnerabilities celebrated in autoethnography into my own stop motion animated works.

Reed-Danahay(1997)defines autoethnography as a form of self-narrative that places the self within the social context. It is both a method and a text. Ellis and Bochner(2000) define autoethnography as an autobiographical genre of writing and research that displays multiple layers of consciousness, connecting the personal to the cultural. Norman Denzin(1997) writes, while autoethnography has traditionally been defined as the cultural study of onersquo;s own people, more recently, it has been defined as a turning of the ethnographic gaze inward on the self while maintaining the outward gaze of ethnography. Autoethnography has the capacity to provoke viewers to broaden their horizons, reflect critically on experiences, enter empathically into the lives of others, and actively participate in dialogue regarding the social implications of the encountered (Ellis amp; Bochner, 2000). According to Cahnmann-Taylor (2008), autoethnography is a merger between autobiography and ethnography that highlights the researcher and their own reflexivity and reflections as viable data. Scholars from many different fields, especially those that embrace qualitative research as a vital tool for knowledge, are experimenting with self-research Ellis amp; Bochner, 2000).

Arts-Based Autoethnography. Autoethnography is an emerging research methodology in the arts and is on a parallel track with arts-based research (Gwyther amp; Possamai-Inesedy，2009，Smith-Shank amp; Keifer-Boyd，2007，Taylor，Wilder，amp; Helms，2007）.

Bochner and Ellis （2003）state that arts-based research and autoethnography share many of the same aims，including blurring bound-aries between the social sciences and the humanities, utilizing forms of creative expression, and the inclusion of the researcher as the subject. Griffiths(2011) argues that arts-based autoethnograhy are needed to address the issue of self as researcher in todays contemporary qualitative research. Springgay (2002) states that the creation of visual forms of inquiry should be equal to traditional forms of educational research.

Todays arts-based autoethnographers are communicating research as short stories, poems, novels, artworks, videos, performances, digital works, and other experimental texts featuring action, emotion, embodiment, self-consciousness, and introspection (Bickel, 2005;Denzin, 2006; Dicks, Mason, Coffey, amp; Atkinson ,2005; Ellis,2004;Lammer,2009;Leavy,2009;Madrid,2012;Minge,2006;Spry,2001;Suominen Guyas,2006; Taylor,Wilder,amp; Helms,2007; Watson,2009). New and inventive methods of arts-based autoethnography are appearing in journals, conferences, and classrooms across the field of art education ( Smith-Shank amp; Keifer-Boyd,2007). These new texts and artworks are currently leading the field of art education and qualitative inquiry in new self-reflexive and vulnerable directions(Barone amp; Eisner,2012; Bickel,2005; Leavy,2009; Smith-Shank amp; Keifer-Boyd,2007; Spry,2001;Suominen Guyas,2007) . Arts-based autoethnography fuses artmaking and research to reveal new knowledge not found in standard qualitative research(Minge,2006).

The central resource for this project is Anniina Suominen Guyas(2003) dissertation . 'Writing with Photographys, Re-Constructing Self;An Arts-Based Autoethnographic Inquiry .' The dissertation is an exploration of Suominen Guyascultural identity and self-perceptions concentrating on the intersections of art and qualitative research.Her photography-based self-research advances the methodology of arts-based autoethnography in the field of art education. Her photographic research provides a framework to explore and develop the autoethnographic possibilities of stop motion animation , which is a sequential series of individual photographs.

Animation is the frame-by-frame photographic process in which the illusion of movement is created(Judgeamp;Hertzfeldt,2004;Santucci ,2009;Selby,2009). Animation brings inanimate objects or images to life on screen(Furniss,2008;Norman,2013;Purves,2008;B.Wells,2011;P.Wells,2006). At its core ,animation seeks to narrate ideas, stories, and visions in surprising and unpredictable ways,often succeeding conventional filmmaking techniques(Selby,2009). Stop motion animation is the process of moving physical objects--such as puppets, clay,or people-using very measured movements captured by photography,creating individual frames(Pawlivsky-Love,2005;Purves,2008). The frames are then rapidly played back one after another,accessing the persistence of vision ,creating the illusion of a moving object(Greenberg,2004;Lord amp; Sibley,2004,2010;Taylor,1996). Stop motion requires high

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定格动画本文将目前自传式人种志的动画和流程从三个方面选择了未就职的艺术教育工作者，这些学生创建定格动画使用小对象，玩具，和他们的物体，恐惧访问文化建设，调查有效的童年时期，和表现出独特的自我陈述。不同学生的例子在本文中处于一个开发阶段，从通过查找混乱的、未知地方的不确定性，从令人羞愧的状态到一个值得庆祝的生活状态。自传式人种志是一种定性方法的合并，研究自传和人种学，并且提供了一个自我反思的方式了解和尝试脱离学科的限制。我发现自传在我的博士课程和公认的增加水平的方面，具有关键反思性的对话存在于我自己的研究和相关的艺术品中，我开始结合以叙述为基础了解自传式的定格动画作品。芦苇定义自传式人种志作为一种自我叙事的地方，它包括两种方法和一个文本。埃利斯和博赫纳定义自传式人种志作为一个自传体类型的写作和研究多个层的意识，连接个人的文化。诺曼认为，自传式在传统上被定义为文化研究，最近，它更多的被定义为一个转动的民族志，凝视向内的自我同时保持向外的目光的人种学。自传式人种志能扩大观众的视野，反映重要的经验，将感情融进他人的生活，积极感受那些遇到的社会现象。根据泰勒所说，自传式人种志是一个合并自传和人种学为亮点的、研究人员和自己的反思作为可行的数据。学者从许多不同的领域，特别将那些定性研究作为一个重要的知识工具，就是尝试与自我研究。自传式人种志在艺术上是一个新兴的研究方法，并且跟踪与艺术为基础的研究。博赫纳和埃利斯状态为基础的艺术研究和自传式人种志有许多相同的目的，包括模糊社会科学及人文，利用形式创造性的表达纳入研究主题。格里菲思认为以艺术为基础的自传式人种志需要解决的问题是研究员自己的当代定性研究。斯普瑞指出创作可视化形式的查询应等于传统形式的教育研究。今天的艺术为基础的自传式人种志是交际性的研究短的故事，诗，小说，艺术品，视频，表演，数字的作品，和其他实验文本设有的行动，情感，实施例中，自我意识和反思。新的艺术为基础的自传式人种志是出现在期刊，会议，和跨领域的艺术教育。这些新的文本和艺术品是目前领先领域的艺术教育和定性查询的新的自我反思性和脆弱的方向。艺术为基础的自传式人种志艺术创作和研究揭示新的知识的标准定性研究。中央资源项目是苏敏芬“论文”，是书面摄影的重新构建，是艺术为基础的自传式人种志的查询的论文，是一个探索苏敏芬身份和自我看法集中在交叉口的艺术和定性。她的摄影为基础的自我研究的方法是艺术为基础的自传式人种志在该领域的艺术教育，她的摄影研究提供了一个框架探索和发展的自传式人种志的可能性的定格动画，这是一个顺序系列的个人照片。动画是帧的摄影过程中的错觉的运动，是日期的创建。动画带来了无生命的对象或图像生活屏幕。在其核心，动画寻求详述的想法，故事，和愿景用令人惊讶的和不可预知的方法，往往是成功的传统的电影技术。定格动画的过程中移动物理对象 - 如木偶，粘土，或以人使用可测得的动作捕捉，由摄影创建单独的帧，帧然后迅速回放此起彼伏，访问持久性的愿景，创建错觉性的移动对象。定格运动需要高度的耐心，严谨性，激情，和一个明确的认识运动;结合自传式人种志，它可以封装经验和鼓励对话中的艺术教育。定格动画中存在的二维和三维形式（.二维材料喜欢粘土.垒高拼装玩具，玩具，木偶，人，和家居用品可以拍摄顺序和动画，最流行的定格动画形式在我的课程包括实体动画，这是使用人体作为一个工具动画和粘土动画，它使用建模粘土或塑料材质创建流体运动到雕刻演员和环境。吸引人的定格动画，其独特的方式表达仍然是深受广大的动画爱好者和动画艺术家，比如授予殊荣的动画师亚当·埃利奥特和布鲁斯·比克福德，这两个工作在粘土动画和故意离开自己的个性特征在他们的粘土字符中，保护自然和人为介导进他们的影视作品中.大多数的努力工作出的作品，创新，和艺术性定格动画不会出现在屏幕上，但可以观察到通过材料和运动的字符。定格运动和运动的特征，定格运动过程需要详细规划，并结合元素的科学和错觉创建运动，因为这些特质，定格动画呼吁教育工作者教授数学，科学，和艺术的等整个领域。动画自传式人种志项目围绕一个主要自研究的问题，并建立定格动画作为一个艺术车辆的研究.通常要求分配的是发布一个详细的建议与研究的问题上的博客，草案自叙述，创建一个动画地址的研究问题，发布周到的反射博客条目查看所有的过程，再完成动画的类。大多数学生从来没有尝试这种类型的动画，艺术为基础的，和/或反思性的查询和未知学习的研究，可移动的超越观察，访谈，和统计通过寻找向内的脆弱的自我。在一个简要概述自传式人种志的做法以后，学生们开始接受艺术创作，个人叙述，和情感作为可行的数据。学生开始意识到艺术和个人经验可以 视为宝贵的数据，从而导致发展到周到的自我研究问题。

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