《白蛇:浮生》:越界之爱与文明涵化  

White Snake:Afloat:Transgressive Love and Civilization Acculturation

作　　者：白惠元 Bai Huiyuan

机构地区：[1]北京师范大学文学院

出　　处：《电影艺术》2024年第5期65-68,共4页Film Art

基　　金：2022年度国家社科基金青年项目“新世纪中国动画电影与古典文学传统转化研究”(项目编号:22CZW055)阶段性成果。

摘　　要：《白蛇:浮生》是追光动画“新传说”系列的第三部,也是新世纪重述古典神话的“国产动画宇宙”的最新力作。影片以包容性为主题,展现了越界之爱及其文明涵化功能:蛇妖形象将动物、女性与妖怪聚合为越界思想力,建构对多元文化身份的包容与理解;古典诗意风景里的爱情神话提供了化解身份政治分裂危机的可能路径,用美感疗愈冷亲密时代的倦怠心灵;作为一种数字古典主义创作,本片借用文化记忆的层累效应,寄情于杭州风物,展现文明的弹性。White Snake:Afloat is the third film of Light Chaser Animation“New Legend”series,and the latest masterpiece of the“Chinese Animation Universe”that retells classical myths in 21st century.The film takes tolerance as its theme,showing transgressive love and its accultural function:the images of snake devils aggregate animals,women and monsters into transgressive power of thought,constructing tolerance and understanding of multicultural identities;the love myth in the classical poetic landscape provides a possible path to resolve the crisis of identity politics,and uses beauty to heal the tired soul in the era of cold intimacy.As a“digital classicism”animation,this film borrows the cumulative effect of cultural memory,expressing its feelings in the scenery of Hangzhou,and showing the elasticity of Chinese Civilization.

关 键 词：追光动画 身份政治 疗愈 数字古典主义 

分 类 号：J954[艺术—电影电视艺术]