Ne Zha’s image transformation in Chinese animation cinema (1961–2019) | Intellect Skip to content
1981
Superheroes
  • ISSN: 2044-2823
  • E-ISSN: 2044-2831

Abstract

This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are and , representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.

Loading

Article metrics loading...

/content/journals/10.1386/ffc_00025_1
2021-04-01
2024-04-28
Loading full text...

Full text loading...

References

  1. Bakhtin, Mikhai. ( 1987;), ‘ Discourse in the novel. ’, in The Dialogic Imagination: Four Essays (trans. M. Holquist.), Austin, TX:: University of Texas Press;, pp. 259422.
    [Google Scholar]
  2. Bao, Jigui. ( 2010), 中国动画电影通史 (History of the Chinese Animated Film), Beijing:: Comic Book Press;, p. 76.
    [Google Scholar]
  3. Campbell, Joseph. ( 1949), The Hero with a Thousand Faces, New York:: Pantheon;.
    [Google Scholar]
  4. Chen, Chen. ( 2020;), 万籁鸣, 万古蟾诞辰120周年: 他们是上海美术电影的底气 (‘Commemorating the 120th aniversary of Wai Laiming and Wan Guchan, they are the foundation of Shanghai arts film’). , https://baijiahao.baidu.com/s?id=1686110727353343925&wfr=spider&for=pc. Accessed 15 December 2020.
  5. Chen, Shaopeng. ( 2017;), ‘ 中国动画电影的工业转型’ (‘Industrial transformation in Chinese animation cinema (1995–2015’). , New Cinemas: Journal of Contemporary Film, 15:2, pp. 15774.
    [Google Scholar]
  6. Chen, Yuanyuan. ( 2015;), ‘ The rebel of the Chinese animation school: Modernist expression in A Da’s late animation. ’, Modernism Modernity, 22:1, pp. 81104.
    [Google Scholar]
  7. Chen, Yuanyuan. ( 2017;), ‘ Old or new art? Rethinking classical Chinese animation. ’, Journal of Chinese Cinemas, pp. 17588.
    [Google Scholar]
  8. China Box Office ( 2015;), ‘ Niandu Piaofang’ (‘2015 yearly box office results in China’). , https://www.douban.com/doulist/36. Accessed 30 December 2015.
  9. 一休さん (Clever Monk) ( 1975, Japan:: TOEI Animation Co, Ltd.;).
    [Google Scholar]
  10. Deng, Na, and Niu, Limei. ( 2016;), ‘ “中国学派”动画电影的历史考察和现实思考’ (‘“Chinese animation school” animated film’s historical and realistic thinking’). , Movie Literature, 11, p. 48.
    [Google Scholar]
  11. Ding, Yaping. ( 2019;), ‘ 中国学派与中国动画的过去、现在和未来’ (‘The past, present and future of Chinese style and Chinese animation’). , Yehaifeng, 128:2, pp. 5860.
    [Google Scholar]
  12. Dudley, Andrew. ( 2009;), ‘ Adaptation. ’, in L. Braudy, and M. Cohen. (eds), Film Theory & Criticism: Introductory Readings, New York:: Oxford University Press;, pp. 37280.
    [Google Scholar]
  13. Farquhar, Ann. ( 1993;), ‘ “Monks and Monkey”: A study of “national style” Chinese animation. ’, Animation Journal, 1:2, pp. 527.
    [Google Scholar]
  14. Feng, Wen, and Sun, Lijun. ( 2007), 动画艺术概论 (Foundation of Animation Art), Beijing:: China Ocean Press;, pp. 5557.
    [Google Scholar]
  15. Geronimi, Clyde. ( 1959), Sleeping Beauty, USA:: Walt Disney Animation Studios;.
    [Google Scholar]
  16. Hand, David. ( 1937), Snow White and the Seven Dwarfs, USA:: The Walt Disney Company;.
    [Google Scholar]
  17. He, Bing, and He, Wei. ( 2014;), ‘ 往事如烟”: 中国动画加工 (1989–2009)’ (‘Chinese animation processing [1989–2009]’). , Beijing:: Communucation University of China Press;, p. 4.
    [Google Scholar]
  18. 葫芦兄弟 (Calabash Brothers) ( 1985–87, China:: Shanghai Animation Film Studio;).
  19. Huang, Yaqiong. ( 2014;), ‘ 动漫产业给力前行(上篇)’ (‘The moving forward of animation industry: Part 1’). , https://www.mct.gov.cn/whzx/bnsj/whcys/201408/t20140804_759407.htm. Accessed 5 August 2014.
  20. Jiao, Zi. ( 2019), 哪吒之降世魔童 (Ne Zha), China:: Horgos Colour room Film Co, Ltd;.
    [Google Scholar]
  21. Jin, Xi. ( 1957;), ‘ 谈木偶片的特性’ (‘Analyse the characteristics of puppet films’). , Chinese Film, 5, p. 20.
    [Google Scholar]
  22. Li, Gen, and Kong, Debing. ( 2019;), ‘ 浅析动画《哪吒闹海》中的角色造型设计’ (‘Analyze the character modeling design of Ne Zha’). , Today’s Massmedia, p. 115.
    [Google Scholar]
  23. Li, Hao. ( 1958;), ‘ 上海美术片厂大搞群众运动的一些体会’ (‘Reflection on the mass movement in Shanghai Animation Film Studio’). , Zhongguo Dianying (Chinese Film), 12, p. 76.
    [Google Scholar]
  24. Liu, Wengang. ( 2009;), ‘ Research on the evolution of the image of Ne Zha God. ’, Religious Studies, 3, pp. 17883.
    [Google Scholar]
  25. Macdonald, Sean. ( 2015;), ‘ Animation as intertextual cinema: Ne Zha Naohai (Ne Zha Conquers the Dragon King). ’, Animation: An Interdisciplinary Journal, 10:3, pp. 20521.
    [Google Scholar]
  26. McFarlane, Brian. ( 1996), Novel to Film: An Introduction to the Theory of Adaptation, Oxford:: Clarendon Press;, pp. 1314.
    [Google Scholar]
  27. McFarlane, Brian. ( 2009;), ‘ Backgrounds. ’, in L. Braudy, and M. Cohen. (eds), Film Theory & Criticism: Introductory Readings, New York:: Oxford University Press;, pp. 38189.
    [Google Scholar]
  28. Mckay, Niall. ( 2013;), ‘ A political reading of Luke 1:51–52 and 3:3–9 in the Light of Ezekiel 17–Inspired by John Howard Yoder and a poststructural intertextuality. ’, The New Testament Society of South Africa, 47:1, pp. 2545.
    [Google Scholar]
  29. Pilling, Jayne. ( 1997;), ‘ Towards a post-modern animated discourse: Bakhtin, intertextuality and the cartoon carnival. ’, in J. Pilling. (ed.), A Reader in Animation Studies, London:: John Libbey;, pp. 20320.
    [Google Scholar]
  30. Qian, Jianping. ( 2014;), ‘ 中国动画电影何去何从——从中、日、美动画谈起’ (‘What is the future of Chinese animated film – A comparison of Chinese, Japanese and American Cartoons’). , New Films, 1, p. 32.
    [Google Scholar]
  31. Qu, Jianfang,, Jin, Xi, and Liu, Huiyi. ( 1980), 阿凡提的故事 (The Story of Any Lift), Shanghai:: Shanghai Animation Film Studio;.
    [Google Scholar]
  32. Qu, Ting. ( 2015;), ‘ Monkey King” breaks “Kung Fu Panda 2” record in China as “Monster Hunt” surges. ’, https://business.sohu.com/20150725/n417524654.shtml. Accessed 25 July 2015.
  33. Sangren, Steven. ( 2000), Chinese Sociologics: An Anthropological Account of Alienation and Social Reproduction, London:: Athlone;, pp. 19091.
    [Google Scholar]
  34. Te, Wei. ( 1984;), ‘ 美术电影创作访谈’ (‘Discussion on the creation of fine arts film’). , in Film Monthly Editorial Office and China Film Press (eds), Research on the Creation of Fine Arts Film, Beijing:: China Film Press;, pp. 111.
    [Google Scholar]
  35. Te, Wei,, Qian, Jiajun, and Tang, Cheng. ( 1960), 小蝌蚪找妈妈 (Where Is Momma), China:: Shanghai Animation Film Studio;.
    [Google Scholar]
  36. Tezuka, Osamu. ( 1963), Astro Boy, Japan:: 虫制作株式会社 Production;.
    [Google Scholar]
  37. Tezuka, Osamu. ( 1965), Kimba, Japan:: Fuji TV;.
    [Google Scholar]
  38. Tian, Xiaopeng. ( 2015), 西游记之大圣归来 (Monkey King: Hero Is Back), China:: Heng Dian World Studio;.
    [Google Scholar]
  39. Wan, Guchan. ( 1926), 大闹画室 (Studio Scene), China:: The Great Wall Film Studio;.
    [Google Scholar]
  40. Wan, Guchan. ( 1958), 猪八戒吃西瓜 (Pigsy Eats Watermelon), Shanghai:: Shanghai Animation Film Studio;.
    [Google Scholar]
  41. Wan Brothers ( 1941), 铁扇公主(Princess Fan), China:: China United Film Company;.
    [Google Scholar]
  42. Wan, Laiming, and Tang, Cheng. ( 1961–64), 大闹天宫 (Uproar in Heaven), China:: Shanghai Animation Film Studio;.
    [Google Scholar]
  43. Wang, Chaobin. ( 2008;), ‘ 从计划经济到社会主义市场经济的伟大变革’ (‘The great change from planned economy to socialist market economy’). , http://cpc.people.com.cn/GB/68742/127229/127250/8344596.html. Accessed 14 November 2008.
  44. Wang, Fenglei, and Meng, Xing. ( 2011;), ‘ 动画创作民族形式之风的巅峰之作——谈动画电影《大闹天宫》的传统美学精神’ (‘The traditional aesthetic spirit of “Uproar in Heaven”, the peak of the national form of animation’). , Inner Mongolia Art, 2, p. 108.
    [Google Scholar]
  45. Wang, Shuchen. ( 1979;), ‘ 哪吒闹海的剧本改编和荧幕体现’ (‘The script and film representation of Ne Zha Conquers the Dragon King’). , China: Film Communication, 4, pp. 3335.
    [Google Scholar]
  46. Wang, Xiangyuan. ( 2009;), ‘ 从宏观比较文学看中国传统文学的文化特性’ (‘The cultural features of traditional Chinese literature in the angle of macro comparative literature’). , Hebei Academic Journal, 4, pp. 12429.
    [Google Scholar]
  47. Wu, Chengen. ( 1955), 西游记 (Xi You Ji or Journey to the West), Beijing:: People’s Literature Publishing House;.
    [Google Scholar]
  48. Wu, Hu. ( 2019;), ‘ 哪吒之魔童降世》幕后创作故事大揭秘!幕后主创专访’ (‘Revealed the Ne Zha’s creation story! Interviewed the main creators’). , https://www.bilibili.com/read/cv3214495/. Accessed 1 August 2019.
  49. Wu, Weihua. ( 2009;), ‘ In memory of Meishu Film: Catachresis and metaphor in theorizing Chinese animation. ’, Animation: An Interdisciplinary Journal, 4:1, pp. 3154.
    [Google Scholar]
  50. Xia, Xingzhen. ( 2008;), ‘ “百花齐放,百家争鸣”方针的形成过程的历史回顾’ (‘In review of the policy of “Letting a Hundred Flower Blossoms and a Hundred Schools of Thought Contend”’). , https://wenku.baidu.com/view/d559a51268eae009581b6bd97f1922791688befa.html. Accessed 9 October 2008.
  51. Xiao, Lu. ( 2008), 中国动画电影的传统美学风格和文化根基 (The Traditional Aesthetic Style and Cultural Root of Chinese Animation Films), Shanghai:: People’s Publishing House;, pp. 10120.
    [Google Scholar]
  52. Xu, Xiuming, and Ge, Hongbing. ( 2013;), ‘ 中国动画理论批判:形式主义、 古典主义与体制艺术’ (‘A critical examination of Chinese animationtheory: A case study of “Chinese School of Animation”’). , Journal of Shanghai Normal University, 6, pp. 10917.
    [Google Scholar]
  53. Xu, Zhonglin. ( 1994), 封神演义 (Creation of the Gods) (trans. G. Zhizhong.), Beijing:: New World Press;.
    [Google Scholar]
  54. Yan, Dingxian,, Wang, Shuchen, and Xu, Jingda. ( 1979), 哪吒闹海 (Ne Zha Conquers the Dragon King), China:: Shanghai Animation Film Studio;.
    [Google Scholar]
  55. Yang, Hansheng. ( 1960;), ‘ 座谈美术电影’ (‘Analysis of fine arts films’). , Film Art, p. 31.
    [Google Scholar]
  56. Ye, Jinhui, and Yin, Jun. ( 2017;), ‘ 浅析浅析《大闹天宫》中角色造型设计 的传统元素运用’ (‘Analyze the absorption of traditional modeling elements in the animation modeling of Uproar in Heaven’). , Art Science and Technology, 1, p. 133.
    [Google Scholar]
  57. Yi, Qing. ( 2010;), ‘ 张仃艺术年谱’ (‘Zhang Ding Art Chronicle’). , Chinese Culture Pictorial, 3, pp. 4344.
    [Google Scholar]
  58. Zhang, Xiaoming, and Hu, Huilin. ( 2009), 年中国文化产业发展报告 (Annual Report on Development of China’s Cultural Industries of 2009), Beijing:: Social Sciences Academic Press (China);.
    [Google Scholar]
  59. Zhang, Na, and Fan, Hongqian. ( 2010;), ‘ 《铁壁阿童木》缔造的动漫奇迹’ (‘The miracle of Astro Boy’). , Movie Literature, 11, p. 104.
    [Google Scholar]
  60. Zhou, Rong. ( 2019;), ‘ “中国学派”动画电影盛衰原因分析’ (‘Analysis of the reasons for the rise and fall of “Chinese school” animated films’). , Southeast University Master’s Thesis Collection, p. 32.
    [Google Scholar]
  61. Fan, Ni. ( 2021;), ‘ Ne Zha’s image transformation in Chinese animation cinema (1961–2019). ’, Film, Fashion & Consumption, 10:1, pp. 27798, https://doi.org/10.1386/ffc_00025_1
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/ffc_00025_1
Loading
/content/journals/10.1386/ffc_00025_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error