杂糅奇观与自我神话——论近年来我国传统神话传说的影视改编
Hybrid Spectacles and Self-Myths:On the Film and Television Adaptation of Traditional Chinese Myths and Legends in Recent Years
李宁1
作者信息
摘要
近年来,《哪吒之魔童降世》《封神第一部:朝歌风云》等古代神话传说的影视改编形成文化热潮.通过转置、扩展与修正等策略,改编者们打造了多元文本世界,并体现出构建故事世界的冲动.这些作品以挪用、拼贴等方式打造后现代/全球化情境下的杂糅奇观,并明显体现出二次元文化的数据库创作的特色.但是,过度杂糅也在一定程度上导致文本内部的分裂与文本之间的冲突.创作者有意构筑起现代个体的自我神话,将成长叙事与反叛精神嵌入现代家庭结构中,以反抗式认同实现个体叙事与宏大叙事的耦合.这波改编热潮体现出更为强烈的现实介入性和显著的神话现实主义趋向.
Abstract
In recent years,there has been a cultural boom in film and television adaptations of ancient myths and legends,such as Nezha:Birth of the Demon Child and Creation of the Gods I:Kingdom of Storms.Through strategies such as transposition,expansion and modification,adapters have created pluralistic textual worlds and embodied the impulse to construct story worlds.These works create hybrid spectacles in the postmodern/globalized contexts by means of appropriation,collage,etc.,and clearly reflect the characterization of database creation for ACGN culture(ACGN is short for anime,comics,game,novel).However,excessive hybridization also leads to a certain degree to divisions within the text and conflicts between texts.The creator intentionally constructs the self-myth of the modem individual,embedding the narrative of growth and the spirit of rebellion into the modern family structure,and realizing the coupling of the individual narrative and the grand narrative by means of rebellious identification.This wave of adaptations reflects a more intense intervention in reality and a significant tendency towards mythological realism.
关键词
神话传说/影视改编/传统文化/文化混杂/自我认同Key words
myths and legends/film and television adaptation/traditional culture/cultural hybridity/self-identification引用本文复制引用
基金项目
中国文联文艺理论研究(部级)重大课题(2023)(ZGWLBJKT202301)
出版年
2024
NETL
NSTL
万方数据