文献出处：Amidi, Amid. Cartoon modern: style and design in fifties animation. Chronicle Books, (2006):292-296.
原文
Cartoon Modern: Style and Design in Fifties Animation
During the 1970s,when I was a graduate student in film studies, UPA had a presence in the academy and among cinephiles that it has since lost. With 16mmdistribution thriving and the films only around twenty years old, one could still see Rooty Toot Toot or The Unicorn in the Garden occasionally. In the decades since, UPA and the modern style it was so central in fostering during the 1950s have receded from sight. Of the studio's own films, only Gerald McBoing Boing and its three sequels have a DVD to themselves, and fans must search out sources for old VHScopies of others. Most modernist-influenced films made by the less prominent studios of the era are completely unavailable.
UPA remains, however, part of the standard story of film history. Following two decades of rule by the realist-oriented Walt Disney product, the small studio boldly introduced a more abstract, stylized look borrowed from modernism in the fine arts. Other smaller studios followed its lead. John Hubley, sometimes in partnership with his wife Faith, became a canonical name in animation studies. But the trend largely ended after the 1950s. Now its importance is taken for granted. David Bordwell and I
followed the pattern by mentioning UPA briefly in our Film History: An Introduction, where we reproduce a black-and-white frame from the Hubleys' Moonbird, taken from a worn 16 mm print. By now, UPA receives a sort of vague respect, while few actually see anything beyond the three or four most famous titles.
All this makes Amid Amidi's Cartoon Modern an important book. Published in an attractive horizontal format well suited to displaying film images, it provides hundreds of color drawings, paintings, cels, storyboards, and other design images from 1950s cartoons that display the influence of modern art. Amidi sticks to the U.S. animation industry and does not cover experimental work or formats other than cel animation. The book brings the innovative style of the 1950s back to our attention and provides a veritable archive of rare, mostly unpublished images for teachers, scholars, and enthusiasts. Seeking these out and making sure that they reproduced well, with a good layout and faithful color, was a major accomplishment, and the result is a great service to the field.
The collection of images is so attractive, interesting, and informative, that it deserved an equally useful accompanying text. Unfortunately, both in terms of organization and amount of information provided, the book has major textual problems.
Amidi states his purpose in the introduction: "to establish the place of 1950s animation design in the great Modernist tradition of the arts". In fact, he barely
discusses modernism across the arts. He is far more concerned with identifying the individual filmmakers, mainly designers, layout artists, and directors, and with describing how the more pioneering ones among them managed to insert modernist style into the products of what he sees as the old-fashioned, conservative animation industry of the late 1940s. When those filmmakers loved jazz or studied at an art school or expressed an admiration for, say, Fernand Léger, Amidimentions it. He may occasionally refer to Abstract Expressionism or Pop Art, but he relies upon the reader to come to the book already knowing the artistic trends of the twentieth century in both America and Europe. At least twice he mentions that Gyorgy Kepes's important 1944 book The Language of Vision was a key influence on some of the animators inclined toward modernism, but he never explains what they might have derived from it. There is no attempt to suggest how modernist films (e.g. Ballet mécanique, Das Cabinet des Dr. Caligari) might have influenced those of Hollywood. On the whole, the other arts and modernism are just assumed, without explanation or specification, to be the context for these filmmakers and films.
There seem to me three distinct problems with Amidi's approach: his broad, all-encompassing definition of modernism; his disdain for more traditional animation, especially that of Disney; and his layout of the chapters.
For Amidi, "modern" seems to mean everything from Abstract Expressionism to stylized greeting cards. He does not distinguish Cubism from Surrealism or explain
what strain of modernism he has in mind. He does not explicitly lay out a difference between modernist-influenced animation and animation that is genuinely a part of modern/modernist art. Thus there is no mention of figures like Oskar Fischinger and Mary Ellen Bute, though there seems a possibility that their work influenced the mainstream filmmakers dealt with in the book.
This may be because Amidi sees modernism's entry into American animation only secondarily as a matter of direct influences from the other arts. Instead, for him the impulse toward modernism is as a movement away from conventional Hollywood animation. Disney is seen as having during the 1930s and 1940s established realism as the norm, so anything stylized would count as modernism. Amidi ends up talking about a lot of rather cute, appealing films as if they were just as innovative as the work of John Hubley. At one point he devotes ten pages to the output of Playhouse Pictures, a studio that made television ads which Amidi describes as "mainstream modern" because "it was driven by a desire to entertain and less concerned with making graphic statements". I suspect Playhouse rates such extensive coverage largely because its founder, Adrian Woolery, had worked as a production manager and cameraman at UPA. At another point Amidi refers to Warner Bros. animation designer Maurice Noble's work as "accessible modernism".
This willingness to cast the modernist net very wide also helps explain why so many conventional looking images from ads are included in the book. Amidi seems
not to have considered the idea that there could be a normal, everyday stylization that has a broad appeal and might have derived ultimately from some modernist influence that had filtered out, not just into animation, but into the culture more generally.
There was such a popularization of modern design in the 1940s and especially the 1950s, and it took place across many areas of American popular culture, including architecture, interior design, and fashion. Thomas Hine has dealt with it in his 1999 book, Populuxe: From Tailfins and TV Dinners to Barbie Dolls and Fallout Shelters. Hines doesn't cover film, but the styles that we can see running through the illustrations in Cartoon Modern have a lot in common with those in Populuxe. Pixar pays homage to them in the design of The Incredibles.
Second, Amidi seeks to establish UPA's importance by casting Walt Disney as his villain. Here Disney stands in for the whole pre-1950s Hollywood animation establishment. For the author, anything that isn't modern style is tired and conservative. His chapter on UPA begins with an anecdote designed to drive that point home. It describes the night in 1951 when Gerald McBoing Boing won the Oscar for best animation of 1950, while Disney, not even nominated in the animation category, won for his live-action short, Beaver Valley. UPA president Stephen Bosustow and Disney posed together, with Bosustow described as looking younger and fresher than his older rival. Disney was only ten years older, but to Amidi, Bosustow's "appearance suggests the vitality and freshness of the UPA films when
placed against the tired Disney films of the early 1950s".
That line perplexed me. True, Disney's astonishing output in the late 1930s and early 1940s could hardly be sustained, either in quantity or quality. But even though Cinderella (a relatively lightweight item) and the shorts become largely routine, few would call Peter Pan, Alice in Wonderland, and Lady and the Tramp tired. Indeed, the two Disney features that Amidi later praises for their modernist style, Sleeping Beauty and One Hundred and One Dalmatians, are often taken to mark the beginning of the end of the studio's golden age.
In Amidi's view, other animation studios, including Warner Bros., were similarly resistant to modernism on the whole, though there were occasional chinks in their armor. The author selectively praises a few individual innovators. A very brief entry on MGM mentions Tex Avery, mainly for his 1951 short, Symphony in Slang. Warner Bros.' Maurice Noble earns Amidi's praise; he consistently provided designs for Chuck Jones's cartoons, most famously What's Opera, Doc?
The book's third problem arises from the decision to organize it as a series of chapters on individual animation studios arranged alphabetically. There's at least some logic to going in chronological order or thematically, or even by the studios in order of their importance. Alphabetical is arbitrary, rendering the relationship between studios haphazard. An unhappy byproduct of this strategy is that the historically most salient studios come near the end of the alphabet. After chapters on many small,
mostly unfamiliar studios, we at last reach the final chapters: Terrytoons, UPA, Walt Disney, Walter Lantz, Warner Bros. Apart from Lantz, these are the main studios relevant to the topic at hand. Amidi prepares the reader with only a brief introduction and no overview, so there is no setup of why UPA is so important or what context Disney provided for the stylistic innovations that are the book's main subject.
译文
现代卡通，动画风格和设计
在20世纪70年代，当我还是一个电影专业的研究生时，美国联合制片公司UPA就受到了学院和影迷们的关注。伴随着16 mm胶卷技术的蓬勃发展，16mm 电影拍摄技术的发展已历经了二十年了，现在人们仍能偶尔在电视上看到动画片“多根的嘟嘟声”或“花园里的独角兽”。在此后的几十年，美国联合制片公司UPA 以及50年代的流行动画片，正逐步淡出人们的视野。而那些小制片公司出品的动画电影，只有杰拉尔德仍然有DVD的续集，影迷们必须自己想办法找到资源，才能看到其他的动画片。大多数其他的受现代主义影响，其他小型的制片公司出口的不太突出的动画，现在则完全找不到资源了，影迷们想看也很难找到了。
然而，美国联合制片公司在电影的历史长河中仍然占有重要的地位。接下里
的二十年，迪士尼出品的现实主义色彩的动画占据了动画业的主导地位，一些小型的制片厂更是大胆引入了一个更抽象的现代主义风格动画。其他的一些小制片厂就跟着这一潮流，推出了类似的产品。约翰?哈比利和他的妻子合作，致力于为动画行业设立一个规范。但这一趋势，从很大程度上说，早在50年代就结束了。现在看来，他们的这一做法是理所当然很重要的。我和大卫·博德维尔两人沿着这一模式继续研究，本文简要地介绍了下美国联合制片公司UPA的动画电影历史，一个简单的介绍，我们也介绍了16mm黑白动画电影。虽然现在，美国联合制片公司UPA及其动画产品获得了影迷们的尊重，只不过不像以前那样有名了。
这一切都使得《现代卡通》这本介绍动画的书成为一本很重要的书。书中使用了一系列的有吸引力动画图像，提供了数以百计的绘画，脚本，故事，还有其他50年代的现代主义动画的元素。这本书将50年代现代主义动画风格，展示在大家面前，提供了很多未发表的有趣的动画故事和图片，这些都吸引了大批动画影迷、学者、爱好者的乐趣。从这本书中寻找出这些有意思的元素，这是一个很重大的成就，其结果对后面的研究也是有极大的意义的。
这些动画图片是如此有吸引力，与这些图片搭配的故事脚本也是很有趣。不幸的是，无论是从故事的组织结构，还是故事信息，其文本上还是存在一些问题。
艾米陈述了书中的引言部分，主要是介绍“50年代建立的动画设计的现代主义艺术传统”。事实上，他几乎没有讨论现代主义艺术。他更关心的是如何识别
出合适的导演、设计师、艺术家等们，此外，他认为，50年代的这些现代主义风格的动画作品都是传统的，保守的。当这些电影人喜欢上爵士乐，或者在一个艺术学校学习时，都表达了对费尔南德的钦佩。他可能偶尔欣赏抽象表现主义、波普艺术，但他依靠这本书，就可以让读者知道美国和欧洲二十世纪的艺术趋势。他至少两次提到，乔治、凯普1944年出版的书，这对一些动画制作者们都产生了很大的影响，使得他们都倾向于制作现代主义风格的动画作品，但他从未解释，当时的这些制作者们是受到他的影响。本文并没有尝试阐述现代主义风格是如何影响那些好莱坞的。总的来说，其他的艺术和现代主义都只是假设，没有一个详细的解释和规范，可以用来指导这些动画电影制作者和动画电影上。
在我看来，与艾米的观点有很大的差异。他对现代主义的动画的定义是广泛的、全方位的，但是他蔑视传统动画，特别是迪斯尼的动画作品。
对于艾米来说，“现代”似乎意味着所有的都是抽象型表现主义的。他没有区分立体主义和超现实主义，也没有对他所谓的现代主义做一个详细的解释。他没有明确地对现代主义风格的动画与真正的现代/现代艺术动画做一个区分，也没将其当作现代主义的一部分。因此，它也没有提到奥斯卡·费新格和玛丽·艾伦的作品，似乎是因为这样一个可能性，即他们的工作影响了主流电影制片人。（完整译文请到百度文库）
微软Visual Studio 1微软Visual Studio Visual Studio 是微软公司推出的开发环境，Visual Studio可以用来创建Windows平台下的Windows应用程序和网络应用程序，也可以用来创建网络服务、智能设备应用程序和Office 插件。Visual Studio是一个来自微软的集成开发环境IDE，它可以用来开发由微软视窗，视窗手机，Windows CE、.NET框架、.NET精简框架和微软的Silverlight支持的控制台和图形用户界面的应用程序以及Windows窗体应用程序，网站，Web应用程序和网络服务中的本地代码连同托管代码。 Visual Studio包含一个由智能感知和代码重构支持的代码编辑器。集成的调试工作既作为一个源代码级调试器又可以作为一台机器级调试器。其他内置工具包括一个窗体设计的GUI应用程序，网页设计师，类设计师，数据库架构设计师。它有几乎各个层面的插件增强功能，包括增加对支持源代码控制系统（如Subversion和Visual SourceSafe）并添加新的工具集设计和可视化编辑器，如特定于域的语言或用于其他方面的软件开发生命周期的工具（例如Team Foundation Server的客户端：团队资源管理器）。 Visual Studio支持不同的编程语言的服务方式的语言，它允许代码编辑器和调试器（在不同程度上）支持几乎所有的编程语言，提供了一个语言特定服务的存在。内置的语言中包括C/C + +中（通过Visual C++）,https://www.doczj.com/doc/4317147342.html,（通过Visual https://www.doczj.com/doc/4317147342.html,），C＃中（通过Visual C＃）和F＃（作为Visual Studio 2010），为支持其他语言，如M,Python,和Ruby等，可通过安装单独的语言服务。它也支持的 XML/XSLT,HTML/XHTML ,JavaScript和CSS.为特定用户提供服务的Visual Studio也是存在的：微软Visual Basic，Visual J＃、Visual C＃和Visual C++。 微软提供了“直通车”的Visual Studio 2010组件的Visual Basic和Visual C＃和Visual C + +，和Visual Web Developer版本，不需任何费用。Visual Studio 2010、2008年和2005专业版，以及Visual Studio 2005的特定语言版本（Visual Basic、C++、C＃、J＃），通过微软的下载DreamSpark计划，对学生免费。 2架构 Visual Studio不支持任何编程语言，解决方案或工具本质。相反，它允许插入各种功能。特定的功能是作为一个VS压缩包的代码。安装时，这个功能可以从服务器得到。IDE提供三项服务：SVsSolution，它提供了能够列举的项目和解决方案; SVsUIShell，它提供了窗口和用户界面功能（包括标签，工具栏和工具窗口）和SVsShell，它处理VS压缩包的注册。此外，IDE还可以负责协调和服务之间实现通信。所有的编辑器，设计器，项目类型和其他工具都是VS压缩包存在。Visual Studio 使用COM访问VSPackage。在Visual Studio SDK中还包括了管理软件包框架(MPF)，这是一套管理的允许在写的CLI兼容的语言的任何围绕COM的接口。然而，MPF并不提供所有的Visual Studio COM 功能。
外文文献翻译 2.5.1译文：看电影的艺术 1930年代中期，沃尔特·迪斯尼才明确以动画电影娱乐观众的思想，动画片本身才成为放映主角（不再是其他剧情片的搭配）。于1937年下半年首映的动画片《白雪公主与七个小矮人》为动画片树立了极高的标准，至今任然指导着动画艺术家们。1940年，这一年作为迪斯尼制片厂的分水岭，诞生了《木偶奇遇记》和《幻想曲>。这些今天成为经典的作品在接下来的二十年中被追随效仿，产生了一系列广受欢迎的动画娱乐作品。包括《小飞象》，《灰姑娘》，《爱丽丝漫游仙境》，《彼得·潘》，《小姐与流浪儿》，他们的故事通常源自广为人知的文学故事。这些影片最不好的地方在于它们似乎越来越面向小观众。 在1966年第四你去死后，他的制片厂继续制作手绘动画影片，但是创作能量衰减，公司转而专注于著作真人是拍电影。然而1989年，对于我们所有孩子来说，动画《小美人鱼》赋予了迪士尼新的生命活力（就像animation这个词本身的定义一样——使有生命活力），从该片开始，出现了一系列令人惊叹不已的音乐动画片。两年后，《美女与野兽》问世，塔尔在制作过程中利用了计算机作为传统手绘技术的辅助手段，这部影片获得了奥斯卡最佳电影奖提名，它是第一部获此殊荣的动画片。更好的还在后面，就想着两部影片一样，后面紧接着出现的众多优秀作品——包括《狮子王》，《阿拉丁》，《花木兰》——延续了迪士尼的经典传统：大胆醒目的视觉效果、精致的剧本，以及我们在所有伟大的电影中，不管是动画还是其他类型中都能找到的普适性主题和出乎意料之处。迪士尼的新版《幻想曲》，又被称为《幻想曲2000》，把原版中的部分片段与新的创作部分糅合在一起。（而且，按照迪士尼管理层的说法，该片是首部在IMAX巨幕影院首映的剧情长片。） 亨利·塞利克执导了蒂姆·波顿出品的两部影片，即《圣诞惊魂夜》和《飞天巨桃历险记》——前者是一部完全原创的定格动画，影片画面有时渗透着无限的恐惧，后者改编自罗纳德·达尔的畅销儿童书，该影片以真人实景拍摄开始。《飞天巨桃历险记》对暴力画面和重大恐惧（比如说，离弃）的表达和处理毫无掩饰，表达的真实感受对成人来说和对儿童一样生动鲜明，而蒂姆·波顿的影片《僵尸新娘》，仅仅从名字上就已经显示出影片内容和该幽默表达的“成人”特
华北电力大学科技学院 毕业设计（论文）附件 外文文献翻译 学号：121912020115姓名：彭钰钊 所在系别：动力工程系专业班级：测控技术与仪器12K1指导教师：李冰 原文标题：Infrared Remote Control System Abstract 2016 年 4 月 19 日
红外遥控系统 摘要 红外数据通信技术是目前在世界范围内被广泛使用的一种无线连接技术，被众多的硬件和软件平台所支持。红外收发器产品具有成本低，小型化，传输速率快，点对点安全传输，不受电磁干扰等特点，可以实现信息在不同产品之间快速、方便、安全地交换与传送，在短距离无线传输方面拥有十分明显的优势。红外遥控收发系统的设计在具有很高的实用价值，目前红外收发器产品在可携式产品中的应用潜力很大。全世界约有1亿5千万台设备采用红外技术，在电子产品和工业设备、医疗设备等领域广泛使用。绝大多数笔记本电脑和手机都配置红外收发器接口。随着红外数据传输技术更加成熟、成本下降，红外收发器在短距离通讯领域必将得到更广泛的应用。 本系统的设计目的是用红外线作为传输媒质来传输用户的操作信息并由接收电路解调出原始信号，主要用到编码芯片和解码芯片对信号进行调制与解调，其中编码芯片用的是台湾生产的PT2262，解码芯片是PT2272。主要工作原理是：利用编码键盘可以为PT2262提供的输入信息，PT2262对输入的信息进行编码并加载到38KHZ的载波上并调制红外发射二极管并辐射到空间，然后再由接收系统接收到发射的信号并解调出原始信息，由PT2272对原信号进行解码以驱动相应的电路完成用户的操作要求。 关键字：红外线；编码；解码；LM386；红外收发器。 1 绪论
数字电视外文翻译文献 (文档含中英文对照即英文原文和中文翻译) 原文： Ginga Middleware and Digital TV in Latin America Gabriel Baum, Universidad Nacional de La Plata Luiz Fernando G. Soares, Pontifical Catholic University of Rio de Janeiro In 2005, Brazil launched its digital TV (DTV) agenda. Its main premise was to reduce the digital divide present in the country, giving the lower social classes the right to access , produce, and distribute information . As a natural consequence, a second premise stressed the generation of local IT jobs and companies to support the entire effort. To bring the benefits of DTV to the masses, Brazil devised the Japanese-Brazilian terrestrial DTV(ISDB-T—the International Standard for Digital Broadcasting),taking the earlier ISDB Japanese standard as a base (with some video and audio coding updates) and introducing the innovative Brazilian middleware system, called Ginga. Argentina adopted ISDB-T in2009 with similar objectives to those of Brazil. Since then, Ginga has been adopted in 12 Latin-American countries. Several other countries in Central America and Africa are testing it as well.
Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program, although there are other methods. Early examples An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion. Five images sequence from a vase found in Iran A 5,000 year old earthen bowl found in Iran.It has five images of a goat painted along the sides. This has been claimed to be an example of early animation. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word. A Chinese zoetrope-type device had been
动画设计专业论文参考文献 在日常学习和工作中，许多人都有过写论文的经历，对论文都不陌生吧，论文是描述学术研究成果进行学术交流的一种工具。还是对论文一筹莫展吗？下面是小编精心整理的动画设计专业论文参考文献，仅供参考，希望能够帮助到大家。 [1]王兆.目标导向设计中人物角色的应用与研究[D].东华大学.2011 [2]陈龙，徐人平，王浩军.基于Freeform系统的玩偶设计开发.北京市经济管理干部学院学报，2006. [3]大而不强创新不足中国网游或死在同质化和抄袭之手. [4]肖冬.移动互联网引爆未来[J].理财.2014,01:46-48 [5]中国互联网络发展状况统计报告.2010 [6]李洪海，石爽，李霞.交互界面设计[M].北京：化学工业出版社.2011 [7]浅析移动应用软件现状.中国电子商务研究中心. [8]张宏江.移动设备的发展将成根本趋势[J].新领军.2012:24 [9]艾瑞咨询.2014移动互联网用户行为研究报告[R].2014,5 [10]阳俊.游戏界面的人性化设计研究[D].重庆大学.2008 [11]陈启安.软件人机界面设计[M].北京：高等教育出版社.2008 [12]2013年中国手机游戏发展现状及未来展望分析. [13]艾瑞咨询.2014Q1中国移动购物市场交易规模达1350.9亿元 [14]李念.基于游戏机制的互联网产品交互设计研究[D].华东理工大 学.2012 [15]吕锦扬.移动互联网环境下的终端与应用发展[N].广东通信技 术.2013(12) [16]许懋琦，于晓燕.从设计学角度分析手机游戏成功因素[J].设 计.2014,04（200）：135-136 [17]郭伏,郝哲哲,许娜,屈庆星,丁一.基于情感体验的应用软件可用性评估方法研究[J].工业工程与管理.2013 (4) : 152-164
单片机外文翻译外文文献英文文献单片机简介中英对原文来源图书馆电子资源 Single chip brief introduction The monolithic integrated circuit said that the monolithic micro controller, it is not completes some logical function the chip, but integrates a computer system to a chip on. Summary speaking: A chip has become a computer. Its volume is small, the quality is light, and the price cheap, for the study, the application and the development has provided the convenient condition. At the same time, the study use monolithic integrated circuit is understands the computer principle and the structure best choice. The monolithic integrated circuit interior also uses with the computer function similar module, for instance CPU, memory, parallel main line, but also has with the hard disk behave identically the memory component7 what is different is its these part performance is opposite our home-use computer weak many, but the price is also low, generally does not surpass 10 Yuan then Made some control electric appliance one kind with it is not the 'very complex work foot, We use now the completely automatic drum washer, the platoon petti-coat pipe: VCD and so on Inside the electrical appliances may see its form! It is mainly takes the control section the core part. It is one kind of online -like real-time control computer, online -like is the scene control, needs to have the strong antijamming ability,
日本动漫产业发展趋势外文翻译 本科毕业论文外文翻译 外文题目: Japan Animation Industry Trends 出处:JETRO Japan Economic Monthly, June 2005 作者:Japanese Economy Division译文: 日本动漫产业发展趋势 日本动画不仅在日本,同时在海外也备受关注。在扩大电影,电视和录像的国内市场后,日本动画电影制作人的视线也已经转向海外市场。与此同时,在电影制作多元化筹资方式的方面已出现新的发展。在此背景下,日本动漫产业正在努力处理某些人力资源的技能短缺,国内电影生产基地缩减和扩大海外业务的挑战。 1、市场概述 2004年日本动画市场。2004年在日本会谈的亚洲动画市场是吉卜力工作室红极一时的《哈尔的移动城堡》工作室在三年内的第一个新版本,将在11月开幕。导演宫崎骏的著作在短短44天超过了10万观众,比在日本的任何电影都快。此后其受欢迎程度不断,观众上升到1423.0万,截至到3月8日,打破标志的是宫崎骏的《魔法公主》,并将它放在日本电影史上的第两位。现在的问题是如何关闭由《千与千寻》在日本创下的所有的2350万的时间纪录。2005年6月开始《哈尔的移动城堡》也将在韩国和其他国家,包括美国60多个城市放映。 市场环境。日本动画(“动漫”)已被赞誉为始祖,日本的文化和内容,对所谓的程度,这是世界范围内的“Japanimation。”导演押井守的动画电影《无辜
的人》2004年在第57届戛纳电影节上被提名。《纯真》是到《攻壳机动队》(1995)的续集,在美国的Billboard影片排行榜上名列第一。宫崎骏的《千与千寻》2003年在第75届奥斯卡奖项上荣获奥斯卡动画长片奖,同时在2002年柏林电影节金熊奖上再次获奖和证明日本是生产世界一流动画的国家。据说许多美国和亚洲动画师想要制作日本的动漫作品,这表明日本动画被领先的专业人士认可。《千与千寻》的商业成功,同时表明在全球公众的日本动漫的优点和国际竞争力。世界已经明确看好日本动漫具有巨大的商业潜力。 尽管如此,业界还没有转移的态势,足以应付海外的一致好评。展望未来,日本动漫产业不仅要扩大海外,它也必须制定必要的生产/配送系统和人员,利用对动画片和其他内容的全球商业机会。事实上生产系统已经成立,但业内人士仍然具有在国内/海外发行和权利上有许多突出的弱点,如在一般的国际许可和业务专长。在发展领域的人员,动画师没有一个适当的高社会地位,所以对其他行业和国家,例如人员外流,已成为一个大问题。 2、多变的市场规模 日本国内的动漫市场大致可分为三类: 正片长度的电影 电视节目 上述视频和DVD两个版本外,还有原作品 据媒体发展研究所透露,在2003年日本的动漫市场销售额下降了10.4%至一千九百十二亿日元,包括动画电影的票房收入,电视动画制作费,销售、出租录像带和DVD产品的利润。这是在两年内(图1)的首次下降。在2001年和2002年实现实质性成果主要是由于2001年《千与千寻》成功的票房(30.4亿日元)然
无线数据采集和传输系统外文翻译文献 (文档含中英文对照即英文原文和中文翻译) 译文： 一种无线数据采集和传输系统的设计【摘要】在现代无线通信领域主要有一些技术为无线传输网络提供解决方法，例如：GSM，CDMA，3G，Wi-Fi。这些方法使得网络能够高效率和高质量的工作，但是成本很高。因此要低成本和在没有基础设施或者基础设施被破坏的情况下推广它们是很困难的。根据这种情况，本论文中数据采集和无线传输网络里的信息终端和无线收发模块的关键部件，是依据nRF905收发模块和51系列单片机的原理设计而成作为核心硬件，此外，结合目前自组无线网络的技术，可以构建一个短距离无
线数据采集和传输网络，这个网络能够提供一个工作在ISM（工业科学医学）频段的低功率及高性能的数据通信系统。然后提出了一个对无线通信可行的解决方案，这个方案优势在于更强的实时响应，更高的可靠性要求和更小的数据量。通过软件和硬件的调试和实际测量，这个系统在我们的解决方案基础上运行良好，达到了预期的目标并且已经成功的应用到无线车辆系统。 【关键词】自组网络；数据采集；传输网络 1 简介 在现代无线通信里，GSM，CDMA，3G和Wi-Fi因为其高速和可靠的质量而逐渐成为无线数据传输网络的主流解决方案。它们也有高成本的缺点，因此如果广泛的应用，将会引起大量的资源浪费，也不能在小区域，低速率的数据通信中得到提升。多点短距离无线数据采集和传输网络将成为最佳解决方案。此系统支持点对点，点对多点和多点对多点通信系统的发展。 短距离无线通信可以适应各种不同的网络技术，例如蓝牙， IEEE802.11，家庭无线网和红外。与远距离无线通信网络相比，它们的不同之处在于基本结构，应用水平，服务范围和业务（数据，语音）。设计短距离无线通信网络的最初目的是为了提供短距离宽带无线接入到移动环境或者制定临时网络，这是在移动环境里互联网更深的发展。短距离无线通信网络最主要的优势是更低的成本和更灵活的应用。 本文介绍信息终端（单个器件）的硬件和软件以及多点短距离无线数据采集和传输网络的无线接收模块的设计建议，提供一个低功率高性
毕业设计（论文）外文文献翻译 文献、资料中文题目：远程视频监控系统 文献、资料英文题目： 文献、资料来源： 文献、资料发表（出版）日期： 院（部）： 专业：电子信息工程 班级： 姓名： 学号： 指导教师： 翻译日期： 2017.02.14
外文文献翻译 A System for Remote Video Surveillance and Monitoring The thrust of CMU research under the DARPA Video Surveillance and Monitoring (VSAM) project is cooperative multi-sensor surveillance to support battlefield awareness. Under our VSAM Integrated Feasibility Demonstration (IFD) contract, we have developed automated video understanding technology that enables a single human operator to monitor activities over a complex area using a distributed network of active video sensors. The goal is to automatically collect and disseminate real-time information from the battlefield to improve the situational awareness of commanders and staff. Other military and federal law enforcement applications include providing perimeter security for troops, monitoring peace treaties or refugee movements from unmanned air vehicles, providing security for embassies or airports, and staking out suspected drug or terrorist hide-outs by collecting time-stamped pictures of everyone entering and exiting the building. Automated video surveillance is an important research area in the commercial sector as well. Technology has reached a stage where mounting cameras to capture video imagery is cheap, but finding available human resources to sit and watch that imagery is expensive. Surveillance cameras are already prevalent in commercial establishments, with camera output being recorded to tapes that are either rewritten
无线局域网技术外文翻译文献(文档含中英文对照即英文原文和中文翻译) 翻译： 无线局域网技术 最近几年，无线局域网开始在市场中独霸一方。越来越多的机构发现无线局域网是传统有线局域网不可缺少的好帮手，它可以满足人们对移动、布局变动和自组网络的需求，并能覆盖难以铺设有线网络的地域。无线局域网是利用无线传输媒体的局域网。就在前几年，人们还很少使用无线局域网。原因包括成本高、数据率低、职业安全方面的顾虑以及需要许可证。随着这些问题的逐步解决，无线局域网很快就开始流行起来了。 无线局域网的应用 局域网的扩展 在20世纪80年代后期出现的无线局域网早期产品都是作为传统有线局域网替
代品而问世的。无线局域网可以节省局域网缆线的安装费用，简化重新布局和其他对网络结构改动的任务。但是，无线局域网的这个动机被以下一系列的事件打消。首先，随着人们越来越清楚地认识到局域网的重要性，建筑师在设计新建筑时就包括了大量用于数据应用的预先埋设好的线路。其次，随着数据传输技术的发展，人们越来越依赖于双绞线连接的局域网。特别是3类和5类非屏蔽双绞线。大多数老建筑中已经铺设了足够的3类电缆，而许多新建筑里则预埋了5类电缆。因此，用无线局域网取代有线局域网的事情从来没有发生过。 但是，在有些环境中无线局域网确实起着有线局域网替代品的作用。例如，象生产车间、股票交易所的交易大厅以及仓库这样有大型开阔场地的建筑；没有足够双绞线对，但又禁止打洞铺设新线路的有历史价值的建筑；从经济角度考虑，安装和维护有线局域网划不来的小型办公室。在以上这些情况下，无线局域网向人们提供了一个有效且更具吸引力的选择。其中大多数情况下，拥有无线局域网的机构同时也拥有支持服务器和某些固定工作站的有线局域网。因此，无线局域网通常会链接到同样建筑群内的有线局域网上。所以我们将此类应用领域成为局域网的扩展。 建筑物的互连 无线局域网技术的另一种用途是邻楼局域网之间的连接，这些局域网可以是无线的也可以是有线的。在这种情况下，两个楼之间采用点对点的无线链接。被链接的设备通常是网桥或路由器。这种点对点的单链路从本质上看不是局域网，但通常我们也把这种应用算作无线局域网。 漫游接入 漫游接入提供局域网和带有天线的移动数据终端之间的无线链接，如膝上型电脑和笔记本电脑。这种应用的一个例子是从外地出差回来的职员将数据从个人移动电脑传送到办公室的服务器上。漫游接入在某种延伸的环境下也是十分有用的，如在建筑群之外操作的一台电脑或一次商务行为。在以上两种情况下，用户会带着自己的电脑随意走动，并希望可以从不同的位置访问有线局域网上的服务器。 自组网络 自组网络（ad hoc network）是为了满足某些即时需求而临时而建立的一种对等网络（没有中央服务器）例如，有一群职员，每人带着一台膝上电脑或掌上电脑，
文献信息： 文献标题：Creative China must find its own Path（中国要有自己的创新之道） 国外作者：Justin 0'Connor 文献出处：《Zhuangshi》, 2009, 199:1-4 字数统计：英文2082单词，10526字符；中文3519汉字 外文文献： Creative China must find its own Path It is commonly said that China needs to ‘catch-up’ with ‘the west’ or the ‘developed world’. This phrase implies a singular path; there may be short cuts and ‘late-comer advantages’ but the destination –a modern, developed country –is the same. But just when it seems China is within touching distance, the ‘developed world’ changes the definition of what it is to be ‘developed’ and puts more obstacles in the path of those trying to catch-up. In English we call this ‘moving the goal-posts’. After manufacturing, services and high-technology seemed to present clear goals for China, the cultural creative industries arrive as the new ‘value-added’ product and service sector, posing yet more problems for the country’s policy-makers. Many in the West have argued that China will take a long time to catch-up in these areas and that this provides a new source of competitive advantage to the West. Indeed, for some, the absence of a competitive cultural creative industries sector is evidence that China is not, and maybe can never be, fully ‘developed’. Much of this can be dismisse d as another example of the West’s superiority complex; however, there can be no doubt that the cultural creative industries present great possibilities but also great challenges for China. These industries – from visual and performing arts, to recorded music, film and TV, to digital animation and new media services, through to fashion, design and architecture – are highly creative and
Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s TheSpectre of Sound: Music in Film and Television Experiencing Music Video: Aesthetics and Cultural Context Annette Davison. , Hollywood Theory, Non-Hollywood Practice: Cinema Soundtracks in the 1980s and 1990s. Aldershot: Ashgate, 2004, 221 pp. K.J. Donnelly. , The Spectre of Sound: Music in Film and Television. lLondon: British Film Institute, 2005, 192 pp. Carol Vernallis. , Experiencing Music Video: Aesthetics and Cultural Context. New York, NY: Columbia University Press, 2004, 341 pp. Next Section The last time a collection of screen music-related books was the subject of a Screen review, the reviewer Simon Frith was moved to note each wor k's …self-defeating … need to draw attention to their subject's neglect? as well as the very limited manner in which the authors seemed …to be engaged with each other?.1 Judging by the books grouped together in the present review, the scholarship in the area is now much more collegiate, and the requirement on the authors to self-diagnose academic isolation seems to have become unnecessary. Annette Davison, K.J. Donnelly and Carol Vernallis share a plethora of critical references on music–image relationships, from Theodor Adorno to Philip Tagg and many points in between. A substantial canon of academic writing on music in narrative film now exists, and it can no longer be claimed that music video is a scholarly blind spot (as Vernallis admits). Of the various media formats discussed in the books under review, only television music remains relatively under-represented academically (though Donnelly's two chapters on the subject begin the process of addressing this absence). In this context, the authors' task would appear to be to present alternatives to existing work, or to bring new objects of study to critical light. All three studies make claims for their own originality by refere ncing a model of …classical? narrative film music practices: a conceptualization of the soundtrack's role as fitting in with classical cinema's perceived storytelling priorities. For all the books' individual merits, the regular recourse to notions of the classical, even in the service of its refutation, raises interesting questions about the possibility (or impossibility) of doing without such a concept entirely. Thus, these works reveal the …classical? to be a category as problematic yet insistent in writ ing on music–image relations as it is in other areas of screen studies enquiry.
外文文献—动画
Animation Animation is the rapid display of a sequence of images of 2-D or 3-D artwork or model positions to create an illusion of movement. The effect is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in several ways. The most common method of presenting animation is as a motion picture or video program, although there are other methods. Early examples An Egyptian burial chamber mural, approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. Five images sequence from a vase found in Iran There is no single person who can be considered the "creator" of film animation, as there were several people working on projects which could be considered animation at about the same time. Georges Méliès was a creator of special-effect films; he was generally one of the first people to use animation with his technique. He discovered a technique by accident which was to stop the camera rolling to change something in the scene, and then continue rolling the film. This idea was later known as stop-motion animation. Early examples of attempts to capture the phenomenon of motion drawing can be found in paleolithic cave paintings, where animals are depicted with multiple legs in superimposed positions, clearly attempting to convey the perception of motion. An Egyptian burial chamber mural , approximately 4000 years old, showing wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion. A 5,000 year old earthen bowl found in Iran.It has five images of a goat painted along the sides. This has been claimed to be an example of early animation. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word. A Chinese zoetrope-type device had been invented in 180 AD. The phenakistoscope, praxinoscope, and the common flip book were early popular animation devices invented during the 19th century. These devices produced the appearance of movement from sequential drawings using technological means, but animation did not really develop much