The Creation of Adam 創造亞當

The Creation of Adam is a fresco painting by Michelangelo, which forms part of the Sistine Chapel's ceiling, painted c. 1511–1512. It illustrates the Biblical creation narrative from the Book of Genesis in which God breathes life into Adam, the first man. The fresco is part of a complex iconographic scheme and is chronologically the fourth in the series of panels depicting episodes from Genesis. It is the most well-known of the Sistine Chapel fresco panels, and its fame as a masterpiece of art is rivaled only by Leonardo da Vinci's Mona Lisa.

The image of the near-touching hands of God and Adam has become iconic of humanity^{[citation needed]} and has been reproduced in countless imitations and parodies.^[3][3][4] Leonardo da Vinci's Last Supper and Michelangelo's Creation of Adamare the most replicated religious paintings of all time.

In 1505, Michelangelo was invited back to Rome by the newly elected Pope Julius II. He was commissioned to build thePope's tomb, which was to include forty statues and be finished in five years.^[5]

Under the patronage of the Pope, Michelangelo experienced constant interruptions to his work on the tomb in order to accomplish numerous other tasks. Although Michelangelo worked on the tomb for 40 years, it was never finished to his satisfaction.^[5] It is located in the Church of S. Pietro in Vincoli in Rome and is most famous for the central figure ofMoses, completed in 1516.^[6] Of the other statues intended for the tomb, two known as the Heroic Captive and the Dying Captive, are now in the Louvre.^[5]

During the same period, Michelangelo painted the ceiling of the Sistine Chapel, which took approximately four years to complete (1508–1512).^[6] According to Condivi's account, Bramante, who was working on the building of St Peter's Basilica, resented Michelangelo's commission for the Pope's tomb and convinced the Pope to commission him in a medium with which he was unfamiliar, in order that he might fail at the task.^[7]

Michelangelo was originally commissioned to paint the Twelve Apostles on the triangular pendentives that supported the ceiling, and cover the central part of the ceiling with ornament.^[8] Michelangelo persuaded Pope Julius to give him a free hand and proposed a different and more complex scheme, representing the Creation, the Fall of Man, the Promise of Salvation through the prophets, and the genealogy of Christ. The work is part of a larger scheme of decoration within the chapel which represents much of the doctrine of the Catholic Church.^[8]

The composition stretches over 500 square metres of ceiling,^[9] and contains over 300 figures.^[8] At its centre are nine episodes from the Book of Genesis, divided into three groups: God's Creation of the Earth; God's Creation of Humankind and their fall from God's grace; and lastly, the state of Humanity as represented by Noah and his family. On the pendentives supporting the ceiling are painted twelve men and women who prophesied the coming of the Jesus; seven prophets of Israel and five Sibyls, prophetic women of the Classical world.^[8] Among the most famous paintings on the ceiling are The Creation of Adam, Adam and Eve in the Garden of Eden, the Deluge, the Prophet Jeremiah and the Cumaean Sibyl.

Michelangelo's main source of inspiration for his Adam in his Creation of Adam seems to have been a cameo showing a nude Augustus Caesar riding sidesaddle on aCapricorn.^[12] This cameo is now at Alnwick Castle, Northumberland.^[13] The cameo used to belong to cardinal Domenico Grimani who lived in Rome while Michelangelo painted the ceiling. Evidence suggests that Michelangelo and Grimani were friends. Some scholars have been dissatisfied with the theory Michelangelo was mainly inspired by Lorenzo Ghiberti's Adam in his Creation of Adam. This cameo offers an alternative theory.

《創造亞當》 是米開朗基羅創作的西斯廷禮拜堂天頂畫《創世紀》的一部分，創作於1511至1512年間的文藝復興全盛期。這幅壁畫描繪的是《聖經·創世紀》中上帝創造人類始祖亞當的情形，按照事情發展順序是創世紀天頂畫中的第四幅。作為世界名畫之一，後世出現了許多《創造亞當》的仿作.

畫中右側穿著飄逸長袍額的白須老者是上帝，亞當則位於畫面左側，通身赤裸。上帝的右臂舒張開來，生命之火從他的指頭中傳遞給了亞當，而後者則以同樣的方式舒展左臂，含蓄地指出人類是按照上帝的模樣來創造的。關於上帝周圍的形象有許多臆測，例如抱著上帝左臂的可能是夏娃，但也有可能是聖母瑪利亞，或者可能只是一個單純的女性天使.

1990年，美國印第安納州安德森的一位醫生在《美國醫學會雜誌》（署名Frank Meshberger, M.D.）上撰文稱上帝周圍的形象實際上是一副人腦解剖圖^[2][3]。其中包括端腦的腦溝、腦幹、額葉、基底動脈、腦下垂體和視神經交叉^[2]。

除去大腦說外，也有藝術史學家認為上帝的紅袍正好形成了一個人類子宮^[4]，飄飛的綠色緞帶則可能是代表臍帶^[5][6]

米開朗基羅畫中亞當形象可能是來自一個雕有奧古斯都騎著摩羯的多彩寶石浮雕^[7]，這個浮雕現藏於英國諾森伯蘭郡阿尼克城堡^[8]。這件藝術品原本是樞機主教多梅尼科·格里曼尼的藏品，他在米開朗基羅繪製《創造亞當》時正好住在羅馬，且有證據顯示二人頗有交情。但也有說法稱亞當的形象實際上是來自於洛倫佐·吉貝爾蒂同名作品中的亞當^[9]。此外，米開朗基羅的關於上帝與亞當互相向對方伸出手臂的創作靈感也許是來自中世紀聖詩《輕叩心扉之門》（Veni Creator Spiritus）^[10]。

Source from Wikipedia and YouTube 

My Neighbor Totoro 龍貓

My Neighbor Totoro (Japanese: となりのトトロ Hepburn: Tonari no Totoro^?) is a 1988 Japanese animated fantasy film written and directed by Hayao Miyazaki and produced by Studio Ghibli. The film – which stars the voice actors Noriko Hidaka, Chika Sakamoto, and Hitoshi Takagi – tells the story of the two young daughters (Satsuki and Mei) of a professor and their interactions with friendly wood spirits in postwar rural Japan. The film won the Animage Anime Grand Prix prize and the Mainichi Film Award andKinema Junpo Award for Best Film in 1988. It also received the Special Award at the Blue Ribbon Awards in the same year.

The film was released on VHS and laserdisc in the United States by Tokuma Japan Communications' US subsidiary in 1993 under the title My Friend Totoro. In 1988, Streamline Pictures produced an exclusive dub for use on transpacific flights by Japan Airlines.Troma Films, under their 50th St. Films banner, distributed the dub of the film co-produced by Jerry Beck. It was released on VHSand DVD by Fox Video. Troma's and Fox's rights to this version expired in 2004. The film was re-released by Walt Disney Pictureson March 7, 2006^[1] and by Madman on March 15, 2006.^[2] It features a new dub cast. This DVD release is the first version of the film in the United States to include both Japanese and English language tracks, as Fox did not have the rights to the Japanese audio track for their version.

The movie and its titular character, Totoro, have become cultural icons. My Neighbor Totoro ranked #41 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010.^[3] A list of the greatest animated films compiled by Terry Gilliam in Time Out ranked the film number 1.^[4] A similar list compiled by the editors of Time Out ranked the film number 3.^[5]The character made multiple cameo appearances in a number of Studio Ghibli films and video games and is recognized as one of the most popular characters in Japanese animation. Totoro was ranked 24th on IGN's top 25 anime characters.

Art director Kazuo Oga was drawn to the film when Hayao Miyazaki showed him an original image of Totoro standing in a satoyama. The director challenged Oga to raise his standards, and Oga's experience with My Neighbor Totoro jump-started the artist's career. Oga and Miyazaki debated the palette of the film, Oga seeking to paint black soil fromAkita Prefecture and Miyazaki preferring the color of red soil from the Kantō region.^[7]:82 The ultimate product was described by Studio Ghibli producer Toshio Suzuki: "It was nature painted with translucent colors."^[8]

Oga's conscientious approach to My Neighbor Totoro was a style that the International Herald Tribune recognized as "[updating] the traditional Japanese animist sense of a natural world that is fully, spiritually alive". The newspaper described the final product:

Set in a period that is both modern and nostalgic, the film creates a fantastic, yet strangely believable universe of supernatural creatures coexisting with modernity. A great part of this sense comes from Oga's evocative backgrounds, which give each tree, hedge and twist in the road an indefinable feeling of warmth that seems ready to spring into sentient life.^[9]

Oga's work on My Neighbor Totoro led to his continued involvement with Studio Ghibli. The studio assigned jobs to Oga that would play to his strengths, and Oga's style became a trademark style of Studio Ghibli.^[9]

The opening sequence of the film was not storyboarded, Miyazaki said, "The sequence was determined through permutations and combinations determined by the time sheets. Each element was made individually and combined in the time sheets..."^[7]:27 The ending sequence depicts the mother's return home and the signs of her return to good health by playing with Satsuki and Mei outside.^[7]:149

The storyboard depicts the town of Matsuko as the setting, with the year being 1955; Miyazaki stated that it was not exact and the team worked on a setting "in the recent past".^[7]:33 The film was originally set to be an hour long, but throughout the process it grew to respond to the social context including the reason for the move and the father's occupation.^[7]:54

Miyazaki has said that Totoro is "not a spirit: he's only an animal. I believe he lives on acorns. He's supposedly the forest keeper, but that's only a half-baked idea, a rough approximation."^[7]:103 The character of Mei was modeled on Miyazaki's niece.

After writing and filming Nausicaä of the Valley of the Wind (1984) and Castle in the Sky (1986), Hayao Miyazaki began directing My Neighbor Totoro for Studio Ghibli. Miyazaki's production paralleled his colleague Isao Takahata's production of Grave of the Fireflies. Miyazaki's film was financed by executive producer Yasuyoshi Tokuma, and both My Neighbor Totoro and Grave of the Fireflies were released on the same bill in 1988. The dual billing was considered "one of the most moving and remarkable double bills ever offered to a cinema audience".^[11]

In 1993, Tokuma Japan Communications' US subsidiary released the first English-language version of My Neighbor Totoro, with the title My Friend Totoro. However, because of his disappointment with the result of the heavily edited English version of Nausicaä of the Valley of the Wind, Miyazaki would not permit any part of the movie to be edited out, all the names had to remain the same (with the exception being Catbus), the translation had to be as close to the original Japanese as possible, and no part of the movie could be changed for any reason, cultural or linguistic (which was very common back then) despite creating problems with some English viewers, particularly in explaining the origin of the name "Totoro". It was produced by John Daly and Derek Gibson, with co-producer Jerry Beck, and was available on VHS and laserdisc. This was the only United States home video release of the film from Tokuma (20th Century Fox would release all upcoming English-language releases of the film until Fox and Troma's rights to the film expired in 2004). Disney's English-language version premiered on October 23, 2005; it then appeared at the 2005 Hollywood Film Festival. The Turner Classic Movies cable television network held the television premiere of Disney's new English dub on January 19, 2006, as part of the network's salute to Hayao Miyazaki. (TCM aired the dub as well as the original Japanese with English subtitles.) The Disney version was initially released on DVD on March 7, 2006, but is now out of print. A reissue of Totoro, Castle in the Sky, andKiki's Delivery Service featuring updated cover art highlighting its Studio Ghibli origins was released by Walt Disney Studios Home Entertainment on March 2, 2010, coinciding with the US DVD and Blu-ray debut of Ponyo.

As is the case with Disney's other English dubs of Miyazaki films, the Disney version of Totoro features a star-heavy cast, including Dakota and Elle Fanning as Satsuki and Mei,Timothy Daly as Mr. Kusakabe, Pat Carroll as Granny, Lea Salonga as Mrs. Kusakabe, and Frank Welker as Totoro and Catbus. The songs for the new dub retained the same translation as the previous dub, but were sung by Sonya Isaacs.

《龍貓》（日语：となりのトトロ）是吉卜力工作室与德间书店於1988年推出的一部动画电影，由宮崎駿所執導。電影描写的是日本在经济高度发展前存在的美丽自然，那个只有孩子才能看见的不可思议世界和丰富的想像，因为唤起观众的乡愁而广受大众欢迎。《龍貓》在1988年4月16日於日本公映^[1]，大约有80万人次進入电影院观看，同时上映的还有高畑勳執導的電影《萤火虫之墓》。該作也是宫崎骏电影在中国公映的第二部作品。在作品中出现的「五月和梅的家」，亦在2005年日本國際博覽會的濑户市会场中展出

制作契机[编辑]

在1986年的《天空之城》上映結束後，當時為Animage動畫雜誌的編輯長鈴木敏夫打算將宮崎駿已構思多年的《龍貓》內容製成企劃書，請德間書店的企劃高層同意將此案製成動畫上映，不過當時被高層以「故事裡的背景昭和時代，對於一般日本人來說只是充滿貧乏生活的回憶」的理由回絕。^[5]

後續因得知新潮社有意推行動畫，^[6]鈴木敏夫便想到可以請高畑勳將野坂昭如的小說《螢火蟲之墓》（火垂るの墓）改編成動畫、並與《龍貓》兩片一同上映的點子，但鈴木敏夫的「兩片一同上映」的提案噱頭；被德間高層專務以「先前提的《龍貓》裡頭已經有妖怪了、現在又來一個裡頭有『墓』的東西」的理由痛斥，^[7]隨後鈴木敏夫親見新潮社社長佐籐亮一，讓新潮社正式接手出資將《螢火蟲之墓》改編成動畫、並透過德間書店社長德間康快向佐籐亮一協調後，讓《龍貓》與《螢火蟲之墓》成為由同一家動畫工作室製作但經由兩家不同出版社發行的作品。^[8]

場景[编辑]

片中的場景為宮崎駿將小時生活周遭的神田川流域景象模樣、當時日本動畫公司所在點多摩市的聖蹟櫻丘附近的景色、以及所澤市一帶景點所融合出的場景。 ^[9]劇中關於大自然鄉村草木的描繪；則由當時初到吉卜力工作室就職的男鹿和雄擔任，而男鹿和雄所描繪出的成品事後得到宮崎駿的驚嘆，^[10]當時在執導《螢火蟲之墓》的高畑勳在觀賞《龍貓》的試映會後；也對男鹿和雄描繪自然景色的技巧深感認同。^[11]

開頭曲[编辑]

片頭開頭曲《散步》（さんぽ）的歌詞內容；為宮崎駿委託以《不不幼稚園》（いやいやえん）一書著名的兒童文學作家中川李枝子所創作，而宮崎駿對此曲的要求為「希望能像童話般令人感到親切，並且可讓小孩們立刻記得住、朗朗上口的歌謠」

Tom and Jerry 猫和老鼠

Tom and Jerry is an American animated series of short films created in 1940, by William Hanna and Joseph Barbera. It centers on a rivalry between its two title characters, Tom Cat and Jerry Mouse, and manyrecurring characters, based around slapstick comedy.

In its original run, Hanna and Barbera produced 114 Tom and Jerry shorts for Metro-Goldwyn-Mayer from 1940 to 1957. During this time, they won seven Academy Awards for Animated Short Film, tying for first place with Walt Disney's Silly Symphonies with the most awards in the category. After the MGM cartoon studio closed in 1957, MGM revived the series with Gene Deitch directing an additional 13 Tom and Jerry shorts forRembrandt Films from 1960 to 1962. Tom and Jerry then became the highest-grossing animated short film series of that time, overtaking Looney Tunes. Chuck Jones then produced another 34 shorts with Sib-Tower 12 Productions between 1963 and 1967. Two more shorts were produced, The Mansion Cat in 2001 and The Karate Guard in 2005, for a total of 163 shorts. Various shorts have been released for home media since the 1990s.

A number of spin-offs have been made, including the television series The Tom and Jerry Show (1975–77), The Tom and Jerry Comedy Show (1980–82), Tom & Jerry Kids (1990–94), Tom and Jerry Tales (2006–08), and The Tom and Jerry Show (2014–present). The first feature-length film based on the series, Tom and Jerry: The Movie, was released in 1992, and multiple direct-to-video films have been produced since 2002.

Numerous Tom and Jerry shorts have been subject to controversy, mainly over racial stereotypes which involves the portrayal of the recurring black character Mammy Two Shoes and characters appearing in blackface. Other controversial themes include cannibalism and the glamorization of smoking.

The series features comedic fights between an iconic set of adversaries, a house cat (Tom) and mouse (Jerry). The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that follows. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. However, there are also several instances within the cartoons where they display genuine friendship and concern for each other's well-being. At other times, the pair set aside their rivalry in order to pursue a common goal, such as when a baby escaped the watch of a negligent babysitter, causing Tom and Jerry to pursue the baby and keep it away from danger.

The cartoons are known for some of the most violent cartoon gags ever devised in theatrical animation such as Tom using everything from axes, hammers, firearms, firecrackers, explosives, traps and poison to kill Jerry. On the other hand, Jerry's methods of retaliation are far more violent due to their frequent success, including slicing Tom in half, decapitating him, shutting his head or fingers in a window or a door, stuffing Tom's tail in a waffle iron or a mangle, kicking him into a refrigerator, getting him electrocuted, pounding him with a mace, club or mallet, causing trees or electric poles to drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.^[1] Because of this, Tom and Jerry has often been criticized as excessively violent. Despite the frequent violence, there is no blood or gore in any scene.^{[2]:42[3]:134}

Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me In St. Louis. Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in nearly every cartoon in which she appears. Most of the vocal effects used for Tom and Jerry are their high-pitched laughs and gasping screams.

Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives and printed by Technicolor; the 1960s entries were done in Metrocolor. The 1960s entrees also returned to the standard Academy ratio and format, too. The 2005 short The Karate Guard was also filmed in the standard Academy ratio and format, too.

《猫和老鼠》（Tom and Jerry，台灣電視公司於1970年代播出時曾經將其译作“妙妙妙”，華納家庭娛樂在臺湾發行的DVD译作“湯姆貓與傑米鼠”，中国大陆各电视台於1980年代播出时曾經將其译作“托姆和小杰瑞”）是由汤姆猫和杰利老鼠搭档出演的一部成功的短篇动画剧集。

该系列动画的编剧和导演分别由威廉·汉纳和約瑟·巴貝拉（后以汉纳-巴伯拉制片公司闻名）担任。从1940年到1958年，直到米高梅公司的动画部门被关闭，该系列动画都是由该公司所出品。米高梅于1960年将《猫和老鼠》的制作外包给了东欧的伦布兰特电影公司（由吉恩·代彻所领导），但因內容不受歡迎，因此只播出了13集。1963年，《猫和老鼠》又返回了米高梅，由查克·琼斯的 Sib-Tower 12出品担纲制作；该系列动画一直播放到了1967年。后来《猫和老鼠》又重新回到了螢幕，分别由翰纳-巴貝拉（1975年－1977年，1990年－1993年）和飞美逊工作室（1980年－1982年）制作。到了2004年，華納兄弟娱乐公司亦做了現代版的湯姆與傑利（湯姆傑利小故事），以三個小故事為一集。該片在中國深受歡迎，也被改編出了多個方言版本

每一集短片一般都从汤姆为抓到杰利的失败尝试开始，随之而来的是对物品造成的各式各样的破坏。但是在某些短片中他们却完全可以融洽地相处（至少开始是这样），他们互相追逐也许由以下的一些原因造成：

• 猫的正常食欲。
• 猫的责任（有时如果汤姆抓不到老鼠，它会被主人赶出，成为流浪猫）。
• 能享受到折磨对方的快乐。
• 复仇（大部分都是这样）。
• 误会（特别是在那些一开始他们相互矛盾或友好的戏中）。
• 当他们想要同样东西（通常是食物）时爆发的冲突 。
• 让杰利不碍事的强烈需要。

汤姆很少战胜过杰利。一般只有在杰利超越某些底线时，汤姆才得以击败杰利；杰利的狡猾则源于自卫本能的需要。但是，它们有时也会联合起来，如一方营救另一方，或对抗共同的敌人。《猫和老鼠》系列短片风靡世界与那些充满破坏效果的过瘾场面有很多关系，如杰利把汤姆切成了两半，汤姆用尽了包括斧头、手枪、来福枪、炸药甚至毒药来试图干掉杰利，杰利把猫的尾巴塞进了鬆餅烘烤模里面等等。

音乐在本短片里强调了动作及传达适当的情感，因此扮演了非常重要的角色。音乐导演斯科特·布拉德利创造出的多元音乐通常融合了古典音乐、爵士乐和流行音乐；布拉德利经常采用当代的流行歌曲，有时也改编米高梅公司的电影原声诸如《绿野仙踪》（1939年）和《青春乐》。

1953年以前，所有的《猫和老鼠》动画均以学院比例格式制作；在1954年到1955年间，一部分动画同时制作了学院格式和宽银幕CinemaScope格式两个版本。从1956年到米高梅关闭动画部门的第二年间，所有的《猫和老鼠》动画均以 CinemaScope 格式制作；一部分动画甚至采用了立体声效果。60年代，吉恩·代彻和查克·琼斯制作的短片均采用学院格式，但是亦包含有为兼容学院宽银幕格式而制作的动画画面。所有的翰纳-巴巴拉版动画均以三色带Technicolor格式制作；60年代的动画以Metrocolor方式制作