Research On The Narration Of Chinese Animated Films In The New Century

Animation art,as a foreign product,has been introduced into our country since 1920 s.It has a history of one hundred years.Wan brothers led the hard start of Chinese animation.In the 1950 s and 1960 s,animation workers drew nutrition from national elements,created a large number of works with national characteristics,and formed the world-famous "Chinese School".In the 1980 s,the television entered thousands of households.The animation workers shifted their focus and devoted themselves to the creation of TV series animation.At the same time,a large number of foreign TV cartoons have been introduced,repeatedly broadcast in the prime time of TV,attracting a large number of fans,and indirectly changing the aesthetic taste of animation of the new generation of audience growing up under TV.Faced with the double impact of TV animation and foreign animation,domestic animation films seem unable to fight back and fall to the bottom.At this time,the animation creators have to re-examine their own situation.Since the new century,the competition in the animation film market is more intense.With the upgrading of animation production technology and the improvement of audience's aesthetic taste,many new changes have taken place in the narrative of domestic animation films.In terms of narrative theme,domestic animation films since the new century have not only inherited the previous theme,but also innovated in the new era,which can be roughly divided into two categories: first,extract values that meet the needs of contemporary people fromtraditional culture,and "Confucianism and Taoism concept" remains the core narrative theme.On the other hand,it reflects the realistic theme of Chinese social problems.Such as the harmony between man and nature,education in the process of children's growth,etcStructuralist narratology holds that the character is a kind of "functional" existence,whose main significance lies in the role he plays in the story.Domestic animated films have stylized features,often set up a binary opposition structure.The struggle between the righteous hero and the evil villain constitutes the narrative core,and the hero also grows up in the fight between good and evil.As an important "functional" character,the supporting role centered on the protagonist promotes the narrative process together.In terms of narrative structure,most of the domestic animation works are still based on the dramatic structure of cause and effect linear.Drawing on the "three act play theory",they can be divided into three stages: conflict building,conflict confrontation and happy ending.The non-linear narrative structure can meet the diverse needs of contemporary audiences,and the animation creators in China are constantly trying and using it,which also indicates the trend of structural diversification in domestic animation films in the future.In the aspect of image narration,the domestic animated films in the new century present the parallel of "spectacle" and "nationalization".The cute,ugly and cool character modeling reflects the "body wonders" in animation works;the martial arts design with the coexistence of nationalstyle and daily diffuse wind shows the "action wonders";the "Scene wonders" are mainly reflected in the narrative space,the rural landscape space full of Chinese local flavor in the film,and the demon and magic world built by magic,all have the Oriental magic color."Nationalization" is the foundation of domestic animation.No matter in the picture or in the sound,we can find the corresponding national elements.Animation workers get inspiration from the traditional folk arts and crafts,create character images,and integrate a large number of national musical instruments such as guzheng and erhu into the soundtrack of the film.The traditional ancient buildings and street scenes on the scene are full of national characteristics.In spite of the rapid development of domestic animation in recent years,there is still a contradiction between the "young" narrative and the "full-age" audience demand,and a game between "foreign style" and "national style".In order to rise up,the domestic animation films must go out of the cage of low-level development,create "happy family" works,and meet the needs of the whole age audience.The more national,the more global,the animator should find out the cultural orientation,pass on the universal theme in line with the Chinese values,at the same time,study the traditional national elements in depth,and seek the modern expression of national elements in the animation.