Transformations of Nezha in Chinese Animated Cinema: A Comparative Analysis from 1979 to 2019
Introduction
Scholar Macdonald (2016) highlights the flourishing realm of China studies within animated film, indicating a shift from traditional Sinology, which primarily examines premodern topics. Chinese animated films bring a unique perspective to discussions surrounding national identity and cultural influence on the global stage. Du (2019) emphasizes that the formulation of Chinese identity is crucially entwined with animated representations, akin to those in Japanese and American animation studies, underlining the historical depth and cultural relevance therein.
The timeframe of the Cultural Revolution (1966–1976) significantly impacted Chinese cultural output. As Fairbank (1969) notes, China represents a vast and culturally distinct tradition. Eisenstein (1986) further posits that the foundational ideas and myths deeply influence both the narrative and visual elements within animated films. China’s rich historical tapestry—encompassing Buddhism, Daoism, and Confucianism—has forged a diversity of cultural forms, including modern animated productions. Particularly, these mythologies serve as rich resources for crafting national cinema and animated styles.
In contemporary film culture, the influences of Daoism and Buddhism persist, with iconic characters such as the Monkey King emerging in pre- and post-Cultural Revolution cinema. Significant releases like “Nezha Naohai” (1979) and the more recent “Nezha zhi Motong Jiangshi” (2019) showcase how these ancient mythologies continue to resonate.
Mythology and National Identity
The intersection of mythology and national identity has changed throughout China’s sociopolitical history. During the Socialist era (1949-1979), animation became instrumental in promoting a distinct national cinema style. The term “national style” emerged, referencing animation that draws on Chinese cultural heritage like opera, paper-cutting, and folklore, thus creating a distinct identity within global storytelling frameworks. However, the incorporation of mythological elements reflects underlying ideological influences, especially during the Cultural Revolution. Many traditional narratives were suppressed, yet artistic endeavors such as youth literature survived state censorship.
Post-1970s, following the Chinese government’s embrace of globalization, a new discursive national identity evolved. Joseph Nye’s (2004) concept of “soft power” has been a focal point of discourse, discussing how national culture projects China’s historical and philosophical foundations globally. Scholars argue that this soft power strategy enables animations like “Nezha” to exemplify cultural identity through an international lens.
Nezha in Animated Film
Historians trace the roots of Nezha back to the Song dynasty’s Buddhist texts. Originally a protector deity, Nezha’s narrative evolved over centuries, particularly through Daoist adaptations. In the classic “Fengshen Yanyi,” Nezha’s character was intricately developed. His story, which involves themes of conflict and redemption, was profoundly affected by Daoist philosophies, contributing to his representation in cinematic forms.
The 1979 animated film “Nezha Naohai” emerged as a pivotal piece in post-Mao cinema, rekindling interest in mythological narratives post-Cultural Revolution while simultaneously critiquing past political regimes. Directed by Wang Shuchen, the film juxtaposed humor and very real political struggles. The animation’s design heavily emphasizes visual elements and themes drawn directly from Chinese traditions and aesthetics, showcasing Nezha as a figure embodying duality within the human experience framed by Gender theory in Daoism.
The subsequent offering, “Nezha Zhi Motong Jiangshi” (2019), demonstrates how mythological narratives can reflect contemporary sensibilities and ideologies. This film portrays Nezha against a backdrop inspired by the ideals of cooperation and individuality—themes that resonate with modern audiences while still drawing upon traditional aesthetics.
Comparative Analysis
This examination reveals that both animated adaptations of Nezha reflect changing cultural discourses amid differing ideological contexts. “Nezha Naohai” (1979) symbolized a return to roots through a purely aesthetic and narrative lens shaped by traditional Daoism. It emphasized the character’s childlike innocence crossed with heroic ideals, indicative of a society beginning to rediscover its cultural identity.
Conversely, “Nezha Zhi Motong Jiangshi” (2019) exemplifies an evolved narrative that accommodates modern sensibilities while enriching its story with Western narrative strategies and aesthetic influences. This film incorporates advanced CGI techniques and themes of individualism, showcasing Nezha not merely as a cultural emblem but rather a complex character facing contemporary moral dilemmas.
Conclusion
The transformations in Nezha’s character across these two significant animated films encapsulate a broader cultural discourse within Chinese animation. As cultural contexts shift from the restrictive environment of the Cultural Revolution to a more globally interconnected framework, the representation of characters like Nezha evolves. The juxtaposition of traditional values with modern interpretations signifies an ongoing negotiation between past and present, culminating in a distinctive national style tailored to contemporary global audiences.
Through comparative analysis, it becomes evident that the portrayal of Nezha has contributed substantially to shaping the narrative around Chinese national style while expressing an adaptive resilience to changing ideologies and contemporary global themes.
