|本期目录/Table of Contents|

[1]钟华,黄粤豪.《哪吒之魔童闹海》东方神话IP基模的数字化重塑与赓续研究[J].长安大学学报(社科版),2025,(04):113-120.
　ZHONG Hua,HUANG Yuehao.Digital reshaping and continuation of the foundational schema of the eastern mythology intellectual property in NE Zha 2[J].Journal of Chang＇an University(Social Science Edition),2025,(04):113-120.
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《哪吒之魔童闹海》东方神话IP基模的数字化重塑与赓续研究(PDF)
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《长安大学学报（社科版）》[ISSN:1671-6248/CN:61-1391/C]

卷:
期数:
2025年04期
页码:
113-120
栏目:
艺术学·传承中华优秀传统文化研究
出版日期:
2025-08-30

文章信息/Info

Title:
Digital reshaping and continuation of the foundational schema of the eastern mythology intellectual property in NE Zha 2
文章编号:
1671-6248(2025)04-0113-08
作者:
钟华1; 黄粤豪2
(1. 贵州民族大学 传媒学院,贵州 贵阳 550001; 2. 贵阳信息科技学院 数字传媒学院,贵州 贵阳 550001)
Author(s):
ZHONG Hua1;  HUANG Yuehao2
(1. School of Communication, Guizhou Minzu University, Guiyang 550001, Guizhou, China; 2. School of Digital Media, Guiyang Institute of Information Science and Technology, Guiyang 550001, Guizhou, China)
关键词:
《哪吒之魔童闹海》;  东方神话;  范式重构;  复调叙事;  数字转译
Keywords:
NE Zha 2;  eastern mythology;  paradigm reconstruction;  polyphonic narrative;  digital reinterpretation
分类号:
J954
DOI:
-
文献标志码:
A
摘要:
为探索《哪吒之魔童闹海》对东方神话故事IP基本认知模式,从东方神话IP符号的承续与裂变、时空重构下蒙太奇的复调叙事革命、传统文化基因的数字媒介转译等视角进行研究。研究发现,创作团队利用妆造、叙事等形式,对哪吒的撰写与人物塑造展开了大胆的重塑与解读,利用动画的形式诠释了东方神话的美,不仅具有传统神话的精神内核,还具有现代科技的融合与全新的叙事理念,借此达成了东方神话IP的重塑与赓续,打破了受众对于传统神话IP的认知基模,达成了传统神话IP的创新性表达。研究表明,构建一个更为生动且更被年轻群体喜爱、主流受众接受的成长历程与人物形象,可有效搭建传统东方神话的跨时代表达。
Abstract:
To explore how NE Zha 2 reconfigures the foundational cognitive schema of Eastern mythological intellectual properties, this paper examines the continuation and divergence of Eastern mythological intellectual property symbols, the polyphonic narrative revolution enabled by montage within reconstructed time-space, and the digital media reinterpretation of traditional cultural genes. The study finds that the creators' team boldly reshaped and interpreted the writing and character creation of NE Zha through styling, narrative techniques, and other forms, and used animation to present the beauty of Eastern mythology. The film not only retains the spiritual core of traditional myth but also integrates modern technology and innovative narrative logic. In doing so, it reshapes and continues the Eastern mythology intellectual property, breaking the audience's foundational cognitive schema of traditional mythology intellectual property and achieving innovative expression of traditional mythology intellectual property. The study concludes that crafting a more vivid character growth process and character image—one that resonates more with younger viewers and is embraced by mainstream audiences—can effectively enable the transgenerational expression of traditional Eastern mythology.

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相似文献/References:

[1]陈可红.《哪吒之魔童闹海》的票房、叙事与文化重构刍议[J].长安大学学报(社科版),2025,(04):89.
　CHEN Kehong.Preliminary discussion on the box office, narrative, cultural reconstruction of NE Zha 2[J].Journal of Chang＇an University(Social Science Edition),2025,(04):89.
[2]张娟.《哪吒之魔童闹海》主题、视听革新的创新实践与全球传播启示[J].长安大学学报(社科版),2025,(04):97.
　ZHANG Juan.Innovative practices in theme and audiovisual reform of NE Zha 2 and its inspiration for global communication[J].Journal of Chang＇an University(Social Science Edition),2025,(04):97.

备注/Memo

备注/Memo:
收稿日期:2025-03-10
基金项目:贵州省政协理论研究课题项目(202545); 贵州省高校人文社会科学研究基地项目(25GZGXRWJD01)
作者简介:钟华(1977-),女,四川成都人,教授。
更新日期/Last Update: 2025-08-30