作者简介

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.

内容简介

通过对一些重要的日本动画作品、工作室、动画师和动画理论的细致分析,《动画机器》定义了日本动画的视觉特征以及那些特定的、“动画性”效果的具体意义。不同于从文化内涵、创作理念、叙事目的、内容主旨进入文本的研究,作者从技术的角度出发,将动画作为一种独特的运动影像来考察,通过其生产方式和技术、创作者之间的互动,揭示出动画本身是如何“处理”技术问题的,或者说,人们是如何运用动画的思维方式来思考技术问题的。为了阐明这一理论的实际意义,作者在书中详尽地考察了一系列重要的动画作品,包括宫崎骏的《天空之城》、庵野秀明的《蓝宝石之谜》和改编自 CLAMP 漫画原作的《人形电脑天使心》,清晣地脉络层层递进,用独特的方式重新讲述了日本动画的战后发展历程。《动画机器》引用德勒兹、伽达利、海德格尔、西蒙顿等人的技术理论,适当借鉴电影理论、精神分析和女性主义学说,并对日本学者的相关理论有所批评。在技术哲学和思想史的交集中,作者以前所未有的深度探索了日本动画内在的物质材料属性,为批判地考察日本动画及相关媒介提供了理论基础。


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 ...

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豆瓣评论

  • snoper卓尔
    终于出中译本了前几章关于动画性和电影性的讨论还是很有启发的,后面的案例分析不太想看06-24
  • kevin←_←
    就凭老马头很想让我去跟他做学问,我无理由五星!!!09-08
  • 川池湖泷
    前两个部分作案例的老物放到今天多少不合时宜,绘画性背景/扁平化这两种倾向在诚哥扳机们的努力下大大极化,以至于《天空之城》和《蓝宝石之谜》在动画光谱上已经被挤成中道壬。而且拉马尔疑似为了抬高合成的地位,写到痞子的剪辑节奏时草草掠过。第三部分材料性弱辩经多才开始精彩起来。06-09
  • 豆友151782295
    最近看了sinophone的一些研究,作为一个文化决定论者对拉马尔的技术决定论不太能理解,一直在强调不要在意日本性,但是中途还是无法回避它。06-17
  • 拾珠象罔
    阅读门槛挺高,有很多前置的谱系需要去了解,分析也是以点带面,不过干货还是够多的03-16

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