キーワード 3DCG 1. はじめに 1928 239
XIX 2010 1 2 1995 240
3DCG 3 2 1999 241
XIX 2010 3DCG 2. キャラクターの身体性に関する三つの議論 2.1. 大塚英志と 傷つく身体 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 242
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 5 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 6 243
XIX 2010 7 8 244
2.2. 伊藤剛と キャラクター としての身体 9 245
XIX 2010 10 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 11 4 4 4 4 4 4 4 4 4 4 4 4 246
12 13 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 14 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 247
XIX 2010 15 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 16 17 2.3. ピクサーと 複製される身体 2008 18 1995 CG 248
13 CG 19 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 249
XIX 2010 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 20 4 4 4 4 4 4 4 CG 250
21 CG 2001 22 251
XIX 2010 23 232 3. 映画的手法 と インクのしみ 252
3.1. 映画的 であること 24 25 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 26 253
XIX 2010 27 28 254
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 29 30 255
XIX 2010 3.2. インクのしみ であること 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 31 32 256
33 257
XIX 2010 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 34 4. 飛行と落下 4.1. 初期作品から 白雪姫 そしてピクサーへ 35 258
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 36 J P 37 1990 3DCG 3DCG 259
XIX 2010 3D 38 CG 39 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 CG 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 40 41 3DCG 260
4.2. 飛行する身体 1941 4 4 4 4 4 4 4 4 4 4 4 4 4 4 1928 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 42 261
XIX 2010 43 44 45 4.3. 落下する身体 4 4 4 4 4 4 4 4 4 4 46 262
2006 47 263
XIX 2010 not a flying toy 5. 結論にかえて 葛藤の中から 264
1966 48 265
XIX 2010 4 4 4 4 4 4 4 4 4 4 49 50 J P 51 52 2 3DCG 266
1987 1966 53 You start with the short jumps. Gauge the distance carefully. Don t take gravity too lightly or it ll catch up with you. -What s gravity? -Gravity is what causes you to fall. 54 267
XIX 2010 55 4 4 4 4 4 4 4 4 4 4 This is nt flying. This is falling with style. 268
注 1 2005 59 60 2 175 3 Hasblo 4 2003 158 5 141 142 6 2001 78 7 91 8 25 9 208 10 NTT 2005 137 11 134 135 12 87 13 95 14 97 15 54 16 266 17 269
XIX 2010 18 2009 19 2009 09 04 http://d.hatena.ne.jp/hana53/20090904 2010/5/9 20 21 22 2002 23 A 2009 298 24 52 25 2010 26 167 27 199 200 28 232 29 205 30 204 31 Vol.4 2007 258 259 32 248 33 18 2009 34 262 270
35 1993 36 2005 1941 108 37 J P BP 2009 110 38 Lev Manovich, What is digital cinema?, The Visual Culture Reader Second Edition, Nicholas Mirzoeff ed., London: Routledge, 2002, p412 39 CG 2009 40 VFX CG 1999 2 BP 155 41 Burr Snider, The Toy Story Story, Wired 3.12 1995 : http : //www.wired.com/ wired/archive/3.12/toy.story.html 2010/5/9, p6 42 Siegfried Kracauer Dumbo The Nation, November 8, 1941, p463 43 2009 44 Dumbo 45 Dumbo 46 50 47 2008 The Fall 48 1993 36 49 1994 68 69 50 271
XIX 2010 51 52 118 53 54 2002 The Illusion of Life 55 VFX 155 272
Realism of the Falling Body : From Early Disney to Pixar MIWA, Kentarô This paper discusses the issue of realism in Japanese manga and American animation and suggests that we should change the framework which is dominant in Japanese criticism of manga in recent years by focusing the history of American animation. First, we refer to discussions by Eiji Otsuka and Go Ito who are the most influential critics of manga today. Otsuka insists that Japanese manga originated from American animation, whose characters have bodies which are never injured. Then he argues that Japanese manga got realism after the war by giving realistic bodies to such non-realistic characters. On the other hand, Ito insists that the reality of the character is based on the simplicity of drawing. Although there are differences between them, they both focus on the character and their frameworks prevent us from capturing another kind of realism which could be found by focusing contemporary 3DCG animations. 3DCG animations led by Pixar resulted from the development of techniques to represent physical space in reality. This paper describes it as a shift from dots of ink to the falling body. In Disney s early works, we often find gags such that a character in the air doesn t fall until he notices that he doesn t have supports. Such meta-fictional gags reveal that the animation is nothing more than dots of ink rather than representations of reality. The history from early Disney to Pixar has aimed to represent physical space which has the law of gravity, hiding its origin as dots of ink. This shift also occurred in Japanese manga, but it is hard to find it because of the framework which focused on character. Therefore, this paper suggests the change from character to space. Of course, manga and animation have retained its origin despite the progress of tendency to represent reality. Therefore, we can describe the history of them as the 273
XIX 2010 history of conflicts between dots of ink and representations of reality. 2 274