米歇尔·欧斯洛执导的剪影动画作品《王子与公主》和《夜幕下的故事》等，将一门古老的动画类型重新带入当代动画视野中。形式感强烈的视觉风格、异于主流商业动画的叙事结构，成为欧斯洛作品独特的艺术风格。在数字技术的语境下，欧斯洛继承了传统剪影的美学原则，并运用当代技术加以扩充。

通过文献分类调查法、归纳法并结合具体作品进行分析，本论文将围绕叙事特征、视觉构成和声音构成总结欧斯洛剪影动画的艺术特征。从动画实践层面而言，欧斯洛的作品具有较完备的剪影艺术语言，能为剪纸动画、骨骼动画等提供相通的创作经验；而从中国动画发展的层面而言，欧斯洛有别于商业影片的探索，能为传统美学与数字技术之融合、主流技术和作者表达之关系等一系列问题提供借鉴。

With silhouette animations such as “Princes and Princesses” and “Tales of the Night”, Michel Ocelot brought a classic animation genre back into the vision of contemporary animation. Differing from commercial animations’ narrative structure, along with strong visual elements, these characteristics came to be the director's personal style. In the context of digital era, Ocelot inherited the aesthetic principle of traditional silhouette and extended it with digital techniques.

Through document analysis, inductive method and analysis of specific works, this study will summarize the artistic characteristics of Ocelot's silhouette animation by focusing on narrative features, visual factors and sound factors. From the perspective of animation practice, Ocelot’s animations consist of relatively complete silhouette aesthetics, which can provide excellent examples for paper-cut animation and skeletal animation. From the perspective of the development of domestic animation, Ocelot's exploration of animation is different from that of mainstream animation, which can provide answers for a series of important issues such as the relationship between traditional aesthetics and digital technology.