想象与回归:《长安三万里》的文化再生产及传播逻辑  

Imagination and Regression:Culture Reproduction and Communication Logic of Chang An

作　　者：陈可红[1] 马晨荇 Chen Kehong;Ma Chenxing

机构地区：[1]浙江传媒学院动画与数字艺术学院,浙江杭州310018 [2]天津师范大学音乐与影视学院,天津300382

出　　处：《传媒观察》2023年第9期111-120,共10页Media Observer

基　　金：浙江传媒学院浙江省影视与戏剧研究中心,国家社会科学基金重大项目“新时代中国动画学派的重建与民族文化传播研究”(19ZDA333)阶段性成果。

摘　　要：近几年,传统文化题材动画电影的回归是动画电影业引人注目的文化现象。《长安三万里》上映后,立即引发了“破圈”效应,不但获得了广泛的关注和好评,还开创了历史文化人物在国漫领域的历史叙事新模式,是新时代“讲好中国故事”的优秀案例。本论文试图把传统文化题材动画电影放在中国动画电影史的长河中,分析其再次回归的主要原因、改编特征,剖析近年来动画大电影的影像叙事方式和营销传播逻辑,并从中华优秀传统文化传承和传播策略的角度,解读《长安三万里》如何主动与主流意识形态相协同,寻找到政治、市场与艺术的平衡关系,以准确把握新时代中国动画电影的发展规律和脉络。In recent years,the return of traditional cultural animated films is a remarkable cultural phenomenon in the animation film industry,and after the release of"Chang An",it immediately triggered the"circle-breaking"effect,which not only received widespread attention and praise,but also created a new model of historical narrative of historical and cultural figures in the field of national comics,which is an excellent case of"telling Chinese stories well"in the new era.This paper attempts to place traditional cultural animated films in the long history of Chinese animation films,analyze the main reasons and adaptation characteristics of their return,analyze the image narrative mode and marketing communication logic of animated films in recent years,and interpret how"Chang An"actively coordinates with mainstream ideology from the perspective of Chinese excellent traditional culture inheritance and communication strategy,and finds a balanced relationship between politics,market and art,so as to accurately grasp the development law and context of Chinese animation films in the new era.

关 键 词：《长安三万里》 传统文化题材 文化传承 传播 

分 类 号：G206[文化科学—传播学] J91[艺术—电影电视艺术]