文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电...文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电影评价较高;认为动画人物形象鲜活、画面唯美;认可中国神话的讲述方式。但是,对于片中音调、动画设计、字幕翻译及叙事方式等方面也进行了负面建构。最后,针对西方观影者的负面评价,笔者提出了未来传播和推广中国动画电影的思路。This paper adopts the perspective of Western viewers as the starting point, utilizing corpus-based quantitative analysis to explore the depiction of Chinese animation in the eyes of Western viewers. Through the analysis of keywords, collocations, and index lines, the study uncovers the image of Chinese animation perceived by Western viewers. The research reveals that Western viewers hold a predominantly positive perception of Chinese animation as depicted in the film “Ne Zha”: they rate the film highly, consider the animation characters lively, and appreciate the beautiful imagery, as well as acknowledge the storytelling of Chinese mythology. However, negative criticisms are also expressed regarding aspects such as the tone, animation design, subtitle translation, and narrative style. Finally, in response to the negative evaluations from Western viewers, the author proposes future strategies for the communication and promotion of Chinese animated films.展开更多
文摘文章以西方观影者的视角为切入点,运用语料库量化分析法,通过对主题词、搭配词和索引行的分析来发掘西方观影者眼中的中国动画形象。研究发现,西方观影者对《哪吒之魔童降世》这部电影所呈现的中国动画形象的态度是积极正面的:他们对电影评价较高;认为动画人物形象鲜活、画面唯美;认可中国神话的讲述方式。但是,对于片中音调、动画设计、字幕翻译及叙事方式等方面也进行了负面建构。最后,针对西方观影者的负面评价,笔者提出了未来传播和推广中国动画电影的思路。This paper adopts the perspective of Western viewers as the starting point, utilizing corpus-based quantitative analysis to explore the depiction of Chinese animation in the eyes of Western viewers. Through the analysis of keywords, collocations, and index lines, the study uncovers the image of Chinese animation perceived by Western viewers. The research reveals that Western viewers hold a predominantly positive perception of Chinese animation as depicted in the film “Ne Zha”: they rate the film highly, consider the animation characters lively, and appreciate the beautiful imagery, as well as acknowledge the storytelling of Chinese mythology. However, negative criticisms are also expressed regarding aspects such as the tone, animation design, subtitle translation, and narrative style. Finally, in response to the negative evaluations from Western viewers, the author proposes future strategies for the communication and promotion of Chinese animated films.
