“武侠中国”的现代重塑——动画《一人之下》批评  

Modern Reshaping of“Martial Arts in China”:Criticism on the Animation The Outcast

作　　者：刘欣 方艺 LIU Xin;FANG Yi

机构地区：[1]杭州师范大学人文学院、文艺批评研究院,浙江杭州311121

出　　处：《海峡人文学刊》2023年第1期1-10,155,共11页Journal of Humanities Across the Straits

基　　金：国家社科基金重大项目“中国新媒介文艺研究”(18ZDA282);国家社科基金一般项目“新媒介文艺的‘中国图像’研究”(22BZW196)。

摘　　要：20世纪末武侠题材开始以动画形式走入大众视野,作为本土特色鲜明的题材,在发展历程中不断面临机遇和挑战,诞生了具有突破性的作品《一人之下》。《一人之下》通过对“江湖”“武”“侠”三要素的解构和再建,让观众看到多重符号在动画设置好的特定场景中共同运作和相互影响,借此实现“武侠中国”的现代重塑;《一人之下》在一众热血动漫的喧嚣浮躁中回归中国传统文化中的隐忍和内敛,展现独特的生命美学;《一人之下》虽然只有单一文本,却出现“宇宙化叙事”的特征,有望在武侠中国现代重塑的基础上打造成为独具中国特色的“现代武侠宇宙”。At the end of the last century,the subject of martial arts began to enter the public’s vision in the form of animation.As a subject with distinctive local characteristics,it constantly faced opportunities and challenges in the development process,and the breakthrough work The Outcast was born.Through the deconstruction and reconstruction of the three elements of“jianghu”,“wu”and“xia”,The Outcast let the audience see multiple symbols work together and influence each other in the specific scenes,thereby realizing the modern reshaping of“martial arts in China”.The Outcast returns to the forbearance and restraint of traditional Chinese culture amidst the tumult and impetuosity of a crowd of hot-blooded animations,showing a unique life aesthetics.Although The Outcast is a single text,it appears the feature of“universal narration”.The“narrative”feature is expected to be built into a“modern martial arts universe”with unique Chinese characteristics on the basis of the modern reshaping of martial arts in China.

关 键 词：武侠动画 重塑 传统文化 宇宙化 

分 类 号：J905[艺术—电影电视艺术]