摘要
动画电影《哪吒之魔童闹海》是“国漫崛起”的全新高度。影片传递出对优绩主义的省思:叛逆少年为了拯救世界而参加考试,却在考场中逐渐觉醒,最终与制度割席。人物群像揭示了一种优绩主义处境:功绩主体被困在系统里。自古至今,哪吒形象一直具有鲜明的抵抗性民族文化基因。朋克哪吒的动画形象则暗含了一条从欧洲到中国的跨文化转化路径。本片从美学风格与文化记忆传承两个方面,有力印证了中国动画的世界性。
The animated film Ne Zha 2 is a new height of “the rise of Chinese animation”. The film conveys a reflection on meritocracy: a rebellious teenager took an exam to save the world, but gradually awakened in the exam and finally broke away from the unfair hierarchy. The group portraits reveal the general situation of contemporary society: the merit subject is trapped in the system. From ancient times to the present, the image of Nezha has always had a distinct national cultural gene of resistance. The animated image of punk Nezha implies a cross-cultural transformation path from Europe to China.From the two aspects of aesthetic style and cultural memory inheritance, this film strongly confirms the internationality of Chinese animation.
出处
《电影艺术》
北大核心
2025年第2期103-106,F0004,共5页
Film Art
基金
2022年度国家社科基金青年项目“新世纪中国动画电影与古典文学传统转化研究”(项目编号:22CZW055)阶段性成果。
关键词
哪吒
朋克
优绩主义
动画电影
世界性
Nezha
punk
meritocracy
animated film
internationality
作者简介
白惠元,北京师范大学文学院副教授,硕士生导师。
