Postmodernist Features Of Domestic Myth-Themed Animated Movies In The New Century

Chinese animation has always learned from Chinese mythology since the birth of the first animated movie titled The Princess of Iron Fan in China.Chinese animation once achieved a great success.From the mid-1950 s to the mid-and-late 1980 s,“Chinese School”,as an important school of Chinese animation,made an animation practice mainly in the pursuit of national artistic styles and became world-famous in the film industry.However,Chinese animation encountered a rough period after the 1990 s.One of the important reasons for the decline of the “Chinese School” is that “Chinese School” was once under the protection of the planned economy strategy which was based on the integration of manufacturing and marketing for a long time.During the transformation from the planned economy to the market economy,it lost its development foundation on which it once depended.As a result,Chinese animation can't adapt to the new social and cultural environment after such a great change.In contrast,the postmodernism,which is closely connected with the commercialization,has criticized and transcended the tradition.The spirit and discourse elements of the postmodernism have permeated and integrated into the culture and arts of Chinese animation and films in the new century.The research on the postmodernism characteristics of animated films with mythological themes made in China in the new century can not only help the Chinese animation industry understand the needs of audiences in the new century,but also find out a way for the ancient mythology in the new century.The thesis consists of four parts:Chapter ? introduces the definitions related to the thesis and clarifies the research scope of the thesis.In this chapter,the author has confirmed the mythology researched in this thesis is the generalized mythology defined by Mr.Yuan Ke.Meanwhile,the author has figured out the development path of the animated films with mythological themes made in China,from which the author has learned an experience that self-denial and selfrenewal are necessary for the animated films with mythological themes in the new century constantly.Chapter ? analyzes the figures of the animated films with mythological themes made in China in the new century.In this chapter,the author has discussed the huge gap between human beings and the divinity in the traditional mythology.However,in the animated films with mythological themes made in China in the new century,the ordinary people become the leading roles and the traditional mythological figures are pulled down from the altar.The author has also explored the desire for the speaking rights and the doubt for the authoritative elites among ordinary people.Chapter ? analyzes the narration of the animated films with mythological themes made in China in the new century.In this chapter,the author has analyzed the tendency of the narration of the animated films with mythological themes made in China in the new century from the unitary development to the polybasic one from three aspects such as the abandon of the grandiose narration,the rebellion of the traditional narration and the focus of female narration.Besides,the author has also discussed the deconstruction and reconstruction of mythology,non-linear narration of animation and the subversion of male hegemony and analyzed features of the mythology to satisfy people's current needs in the new century.Chapter ? analyzes the audio-visual language of the animated films with mythological themes made in China in the new century.In this chapter,the author has explored the classical audio-visual imitation,the application of the hybrid collage technique and the carnival features of the language in the animated films with mythological themes made in China in the new century.The author has finally concluded that the artistic feature is dispelled by the commercialization,which can help the mythology to be adapted to the new century better.