2015-2020 Research On The Adaptation Of Chinese Mythology Animated Films

In recent years,Chinese animated films have occupied a large consumer market.Animated films adapted from traditional myths such as "Journey to the West: The Return of the Great Sage","The White Snake: Origin" and "Nezha: The Devil Child Comes into the World" are especially popular among audiences,giving some traditional fairy tales new meaning in contemporary context.The combination of traditional Chinese fairy tales and animated movies is due to the current context of the times,as well as the characteristics of traditional fairy tales and animated movies.Their combination not only opened up a new path for Chinese animation to get rid of the downturn,but also enabled the effective dissemination of myths and stories rich in Chinese traditional culture.In order to survive in the present,things from the past must be changed,and literary works are no exception.This article selects three good box-office works of "Journey to the West: The Return of the Great Sage","White Snake: Origin" and "Nezha: The Devil Child Comes into the World".Through text reading and comparative research,it analyzes the influence of animation films on the traditional Adaptation of fairy tales.This research is divided into three parts: The first part is the exploration of the craze for the adaptation of traditional Chinese fairy tales by animated films.Through the statistics of the box office of animated films,we will find that animated films adapted from fairy tales attract more audiences.On the basis of facts,to explore the reasons for this phenomenon.There are four reasons to explain this phenomenon.One is the natural adaptability of the fantasy color of the myth itself and the animation film technology,which enables the myth story to be better expressed.Second,Chinese traditional mythical stories are shared stories created by the public.Therefore,the stories have a huge audience base and reflect the emotional needs of all classes.These emotional needs have been precipitated and accumulated to form our common emotional dilemma,which recurs in every era,Animated films not only express this emotional dilemma,but also try to solve this emotional dilemma,and resonate with the audience;third,the traditional Chinese myth story itself is deconstructive,and authors of different eras can merge their own ideas and create original stories.,And not limited to the same form,text stories can be converted into TV dramas or movies,or vice versa,forming a cross-media narrative.Therefore,the adaptation of traditional fairy tales in animated films is a trend of cross-media narration;the fourth is traditional Chinese fairy tales.It has profound Chinese cultural factors,and its successful adaptation can not only make traditional Chinese culture more deeply rooted in the hearts of the people,but also enable the spread of traditional Chinese culture,enhance our cultural confidence,and tell Chinese stories well.The second part is to explore the narrative strategy of the adaptation of Chinese traditional mythological animation films.It is hoped that through the exploration of the narrative strategy of the adaptation of Chinese traditional mythological animation films,the combination and innovation of the two can be better promoted.Combining the three films,and comparing the film with the story text,there are three narrative strategies that stand out.First of all,the three text stories and animated films all involve the transformation of the id,ego,and superego,but the characterization of the protagonist in the text story and the animated film is different.Specifically,the formation of the self in the text story mainly relies on the superego's coercion and oppression of the id,while the formation of the self in the animated film relies more on the superego's influence on the self.Secondly,the heroes in animated movies are no longer the invincible gods in the text stories.Monkey King,White Snake and Nezha are all gods with shortcomings and failures.Such anti-heroes are closer to the audience,and when the hero gets out of the predicament,the audience will resonate strongly.The third is the concealed and flattened coming-of-age ceremony rituals in the three animated films.The coming-of-age rituals have existed in ancient times.After experiencing the coming of age rituals,it marks the entry of individuals into society and is recognized by the society.The coming-of-age rituals in the three animated films are relatively mild and hidden,and are no longer marked by damage to the body as in ancient times,but are more inclined to change in thought.The third part is to explore the funeral culture shown in the animated film,and how the protagonist realizes his self-construction under the funeral culture.Although the protagonist in the animated film is in a state of depression,the animated film is full of elements such as failure,death,and amnesia.The image of the protagonist can be summarized in three words: frustration,amnesia and loss of life.But at the same time,guided by the resistance of the funeral culture,the superego and the despondent self violently conflict in the animated film.In the end,the depression of self-resistance can only be suppressed by the negative suppression of the perfect superego,breaking through the spiritual dilemma,and realizing the perfect self.Through the research of the three parts,it is found that the audience can resonate strongly with the mental dilemma and emotional encounter of the protagonist in the animated film while watching the traditional myth-based animated film,and gain strength from the protagonist's efforts to get out of the mental dilemma and emotional encounter,Get a respite in a mentally anxious society.Therefore,it is of practical significance to study how traditional myths are successfully adapted into animated films.