摘要
本文以现象级动画电影《哪吒之魔童闹海》为研究对象,以吉尔・德勒兹“解域化—再辖域化”理论为核心框架,融合符号学与数字媒介学视角,对影片的符号生产机制展开跨学科剖析,探讨影片中角色、场景、道具等符号元素的解域机制及其文化实践。研究发现,影片通过“神话原型的心理解域”“数字媒介的记忆重构”“跨代际传播的符号博弈”三重路径,构建了传统IP与当代文化的对话场域。这种解域实践不仅实现了神话符号从“集体无意识”到“个体情感共鸣”的转化,更在技术迭代与代际冲突中重构了动画电影的文化表意体系,为中国传统文化的现代化传播提供了“原型激活-媒介赋能-代际协商”的创新范式。
Times NewThis paper takes the phenomenal animated film Nezha:The Devil Child Makes Havoc in the Sea as the research object,using Gilles Deleuze's theory of"deterritorialization-reterritorialization"as the core framework,and integrating semiology and digital media studies to conduct an interdisciplinary analysis of the film's symbolic production mechanism.It explores the deterritorialization mechanisms and cultural practices of symbolic elements such as characters,scenes,and props in the film.The study finds that the film constructs a dialogue field between traditional IP and contemporary culture through three pathways:"psychological deterritorialization of mythological archetypes,""memory reconstruction via digital media,"and"symbolic games in intergenerational communication."This deterritorialization practice not only realizes the transformation of mythological symbols from"collective unconsciousness"to"individual emotional resonance"but also reconstructs the cultural system(ideographic system)of animated films amid technological iteration and intergenerational conflicts,providing an innovative paradigm of"archetype activation-media empowerment-intergenerational negotiation"for the modern transmission of Chinese traditional culture.
作者
张蕊
杜智雪
Zhang Rui;Du Zhixue(Chengdu Vocational University of Art,Chengdu,China)
基金
成都艺术职业大学2024年度校级科研立项课题《系统美学视域下动画电影的多模态建构研究》,项目编号:CYKY2024024.
关键词
《哪吒之魔童闹海》
符号解域
动画电影
德勒兹
文化转译
The Nezha Makes Havoc in the Sea
symbolic deterritorialization
animated film
Deleuze
cultural translation
