现代性
风格(视觉艺术)
美学
国籍
社会学
动画
光学(聚焦)
叙述的
政治
性别研究
艺术
文学类
认识论
政治学
哲学
法学
物理
光学
移民
作者
Thomas William Whyke,Joaquín López-Múgica,Melissa Shani Brown
出处
期刊:Animation
[SAGE]
日期:2021-11-01
卷期号:16 (3): 157-174
被引量:10
标识
DOI:10.1177/17468477211049354
摘要
In this article, the authors explore the popular animation Nezha (2019), examining the idea that it typifies the ‘national style’. Expanding the work of other scholars who have demonstrated the changeability of the ‘national style’, here they examine this notion in regard to the way in which Nezha (2019) represents ‘Chineseness’ at this particular socio-political moment. Methodologically, they focus their analysis largely upon the film’s narrative and aesthetics, drawing on a number of reviews as counterpoints for the way in which it was interpreted to situate it in popular discourses. The authors argue that Nezha (2019) presents a national image in which traditions and modernity are interwoven, and the focus upon the ‘technological’ – its digitality – constitutes a refiguring of animation in China as symbolic of modernity. Narratively and aesthetically mediating between the past and the present, Nezha (2019) embodies a ‘national style’ which is on one hand hybrid in its inter/nationality, but also culturally delimited in terms of which cultural heritages are held up as emblematic of the nation.
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