摘要
随着中国动画产业的蓬勃发展,当前已出现了一些备受关注的中国动画电影。中国动画电影界也正在国际化的浪潮中试着去开展更多的跨文化交流与合作。若以原型批评作为理论基础,结合中国神话哲学中关于文化原型的看法以及对此类原型的改编进行探讨,可以梳理并分析中国传统文化中“龙”这一典型符号在跨文化传播过程中的变形以及被再开发的简要状况。若对美国动画电影进行比较观察,可见中国龙的形象在符号层面及文化内涵上都有了新的诠释,这种改编虽然在某种程度上削弱了文化原型本身的核心元素,但也扩大了其传播的范围。通过以美国的几部动画电影还有中国和西班牙合作的动画电影《守龙者》为例进行的初步对比可知,当今在动画电影中对文化原型进行谨慎而不失灵活的改编,可望既守护好其根本内涵,又为中国文化进一步走向世界和中国动画探索海外市场拓宽道路。
With the rapid growth of China’s animation industry,a number of Chinese animated films have recently attracted significant attention.Amid the wave of cultural internationalization,the Chinese animation sector is actively pursuing cross-cultural exchanges and collaborations.If prototype criticism is used as the theoretical basis,combined with the views on cultural prototypes in Chinese mythological philosophy and the adaptation of such prototypes,it is possible to sort out and analyze the transformation of the typical symbol of“dragon”in traditional Chinese culture in the process of cross-cultural communication and the brief situation of its redevelopment.In American animated films,the image of the Chinese Loong(dragon)has a new interpretation on the symbolic level and cultural connotation.Although this adaptation has weakened the core elements of the cultural prototype itself to some extent,it has also expanded the scope of its communication.Through a preliminary comparison using several American animated films and the animated film The Dragonkeeper co-produced by China and Spain as examples,it can be seen that the cautious yet flexible adaptation of cultural prototypes in animated films today has the potential to both safeguard their fundamental connotations and broaden the path for Chinese culture to further enter the world and for Chinese animation to explore overseas markets.
出处
《艺术传播研究》
2025年第4期80-90,共11页
Journal of Art Communication
基金
北京市社会科学基金重点项目“百年中国动画——中国动画审美与民族影像创新性研究”(编号:22YTA002)的阶段性成果。
关键词
文化原型
中国动画电影
原型批评
龙
《守龙者》
cultural archetype
Chinese animated film
archetypal criticism
dragon
The Dragonkeeper
