摘要
国产动画电影通过对经典文本、民间传说中神话角色的复现、解构与重构,构建起具有当代精神特质的叙事主体。其具体策略如下:首先,从人性维度出发,重新诠释“神”“妖”“魔”的个体形象,将其从绝对权威或邪恶中解放,并在此转化中获得主体性的确立;其次,将现代社会中个体乃至群体的身份焦虑映射于神话角色,使其成为现代人精神困境的银幕象征,并经由记忆符号与个体身份间的张力,赋予神话角色新的生命力和典型特征;最后,重新设定神话角色间的行为关系,利用情感力量挑战传统的“父之名”,使“情本体”成为调和代际矛盾、连接历史神话与当代叙事的有效路径。改编并非对神话的背离,而是通过注入现代性思考,重新激活传统文化基因的当代生命力。面对“讲好中国故事”的号召,国产动画电影应用新技术与新叙事,使中国神话跳出传统文本走向创新前沿,探索创作不同于他者且独具中国特色的“新神话”。“神话新编”后的动画电影不仅实现了神话传说的现代化诠释,更深刻回应了受众的当代审美需求,折射出中国社会价值观念的深层嬗变,成为祛魅与重建并行的文化实践。
Domestic animated films construct narrative subjects with contemporary spiritual characteristics by reproducing,deconstructing,and reconstructing mythological characters from classic texts and folklore.Specifically,these films employ three key strategies.First,from the perspective of humanization,they reinterpret the figures of“gods,”“demons,”and“monsters,”liberating them from absolute authority or inherent evil and thus affirming their subjectivity.Second,they project the identity anxiety of individuals and groups in modern society onto mythological characters,turning them into screen symbols of modern people′s spiritual dilemma.The mythological characters are endowed with new vitality and typical characteristics through the tension between memory symbols and individual identities.Third,by redefining inter-character relationships and leveraging emotional forces to challenge the traditional authority of the“Name-of-the-Father”,these films establish emotional authenticity as a pathway to reconciling intergenerational conflicts and linking historical myths with contemporary narratives.Adaptation is not a departure from mythology,but rather a revitalization of the contemporary vitality of traditional cultural genes by injecting modern thinking.Responding to the national call to“tell China′s stories well,”Chinese animated films employ new technologies and storytelling methods to propel Chinese myths beyond traditional texts into the frontier of innovation and to explore the creation of“new myths”that are different from others and have unique Chinese characteristics.The animated films after the“New Compilation of Mythology”not only achieve a modern interpretation of mythological legends,but also resonate with the contemporary aesthetic needs of the audience,reflecting the deep evolution of Chinese social values and becoming a cultural practice that combines disenchantment and reconstruction.
出处
《天府新论》
2025年第4期141-149,157,共10页
New Horizons from Tianfu
关键词
动画电影
传统文化
神话改编
神话主体
animated film
traditional culture
myth adaptation
mythical subjects
作者简介
杨冰玉,南京师范大学文学院博士研究生,研究方向:当代电影。江苏南京210024。
