中国改编神话题材动画电影的策略与影响 ：以<西游记之大圣归来> 与 <哪吒之魔童降世> 为例 = The strategy and influences of China’s animated films mythological adaptation – using examples of Monkey King : Hero is back and Ne Zha : I am the destiny

• Main Author: 张绍华 Zhang, Shaohua
• Other Authors: I Lo-fen
• Format: Final Year Project
• Language: Chinese
• Published: Nanyang Technological University 2020
• Subjects: Humanities::Literature::Chinese
• Online Access: https://hdl.handle.net/10356/137377
• Institution: Nanyang Technological University

《西游记之大圣归来》与《哪吒之魔童降世》是根据中国传统神话故事《西游记》与哪吒相关传统民间故事改编的两部动画电影作品，在中国动画电影发展史上具有划时代的代表性意义。因为两部电影对中国动画的转型方向做出突破性的创新，并对中国动画产业的未来发展起到了引领的作用，所以引起了广泛的关注与热烈的讨论。同时，两部电影中体现了当代中国社会价值观转变的议题，也因契合时代审美的缘故而在社会上引发了巨大的反响。 笔者文本将以“文图学”的视角分别对两部改编神话题材动画电影的人物设计与故事发展进行梳理为基础，结合社会心理学与叙事学的相关理论，分析与总结当代中国改编神话题材动画电影的改变策略与作用。在此基础上，笔者将进一步采取大众传播学的研究方法来解读两部影片在改编时如何利用神话题材与动画媒介的传播性质，表现当代中国动画创作意愿向受众需求靠拢的趋势，然后探讨二者对中国动画受众与创作者的启发性影响。《Monkey King: Hero is back》 and 《NE ZHA: I am the Destiny》are two animation films adapted from Chinese traditional mythological story 《Journey to the West》 and Ne Zha's related traditional folk stories, which are of epoch-making significance in the development history of Chinese animation films. Because the two films have made a breakthrough innovation in the direction of Chinese animation transformation and played a leading role in the future development of Chinese animation industry. Therefore, they have been widely concerned and warmly discussed. At the same time, the issue of the transformation of social values in contemporary China reflected in the two films has also aroused great repercussions in the society because it is in line with the aesthetics of the times. Based on the analysis of the character design and story development of the two adapted mythological films from the perspective of text-image theory, the author analyzes and summarizes the adaptation strategies and influences of the contemporary Chinese adapted mythological animated films by combining the relevant theories of social psychology and narratology. On this basis, the author will further adopt the research method of mass communication to interpret how the two films make use of the communication nature of mythological themes and animation media when they are adapted to show the trend that contemporary Chinese animation creation intention is closing to the needs of the audience, and then explore the enlightening influences of the two films on Chinese animation audience and creators.