中國風動畫電影敘事中的哲學思維與美學意境——以動畫電影〈白蛇：緣起〉爲例 (The Philosophical Thinking and Aesthetic Conception in Narration of Chinese-style Animated Films)

서지정보

· 발행기관 : 한국중국학회
· 수록지 정보 : 중국학보 / 88호 / 175 ~ 192페이지
· 저자명 : 왕남

초록

近幾年來，中國動畫電影走的都是中國風路線，用深入淺出的東方哲學與美輪美奐的東方意境爲觀眾提供了很多優秀的作品。2019年上映的動畫電影〈白蛇：緣起〉就是這樣一部成功的作品。它之所以獲得了口碑與票房的雙贏，主要有三個原因：對傳統的顛覆、對東方哲學的表現、對東方美學的實踐。
電影對於傳統的顛覆主要體現在對於敘事背景的改變：首先，電影的故事年代定位於唐朝末年。其次，故事的期限改成了許仙的前世。第三，電影故事的地點從杭州變成了永州。第四，電影不再糾結人妖勢不兩立的傳統命題。
電影對東方哲學的表現是用自己的方式闡釋了中國哲學中“形”與“神”這兩大命題的關系。在處理人與妖的關系上，電影是主張“神”勝於“形”的；在人與妖的互換上，電影是主張“形”滅而“神”不滅的。
電影對東方美學的實踐在於電影敘事中的鏡頭語言充分利用了中國繪畫中創造意境的方法，主要表現在兩個方面：一是注重“空白”與“隱”的作用，用簡單的畫面表現出深刻的寓意。二是講究“布置之法”，注重幾何構圖。

영어초록

In recent years, Chinese animated films follow the Chinese style, and provide many excellent works for the audience with deep Oriental philosophy and magnificent Oriental artistic conception. One such success is the 2019 animated film White Snake. There are three main reasons for its win-win situation of public praise and box office: the subversion of tradition, the expression of Oriental philosophy and the practice of Oriental aesthetics.
The subversion of the film to the tradition is mainly reflected in the change of narrative background: first, the story of the film is positioned at the end of the tang dynasty. Secondly, the time limit of the story was changed to XuXian's previous life. Third, the location of the movie changed from Hangzhou to Yongzhou. Fourth, the film is no longer entangled with the traditional proposition that humans and monsters are at daggers drawn.
The expression of Oriental philosophy in the film is to explain the relationship between "form" and "spirit" in Chinese philosophy in its own way. In dealing with the relationship between people and monsters, the movie advocates that "spirit" is more important than "form". In the exchange between man and monster, the film advocates that "form" will disappear, and "spirit" is not extinguished.
The film's practice of Oriental aesthetics is that the lens language in the film narration makes full use of the method of creating artistic conception in Chinese painting, which is mainly reflected in two aspects: one is that it pays attention to the role of "blankness" and "concealment", and uses simple pictures to express profound connotations. Second, pay attention to the "method of layout", pay attention to geometric composition.

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