Du Xianghai, Li Yi's favorite film critic, will naturally not miss this movie.
However, after watching "Nezha Hao Hai", he immediately bought another ticket for the midnight show and watched it again.
The notebook contains many notes about "Nezha Makes the Sea".
But even after watching it twice, Du Xianghai still didn't write a movie review for a long time.
He could imagine that many, many people would interpret and comment on the "deviant" plot of this animated film, so he did not want to follow the crowd. For this reason, he hoped to interpret the film through other aspects.
Because there are really too many Chinese elements used in this Chinese cartoon. He doesn't know much about many of them himself, and he still needs to look up the information. Fortunately, he is only a film critic, so he only needs to go through it at a superficial level.
Just leave a review if you know how.
Otherwise, I'm afraid it will take more time.
Even so, Du Xianghai didn't officially start writing film reviews until the next morning.
"Based on the mythical story of "Nezha Naohai", it contains a strong Chinese flavor!"
"Hua Guo Animation, referred to as Chinese Comics, but what kind of animation movies can be truly considered Chinese Comics? Does it only need to be domestically produced? Personally, I don’t think so.
The current domestic animated films that have been released, including "The Return of the Great Sage", actually imitate and incorporate things from Japanese comics, American comics and other cultures.
Of course, we can't say that "The Return of the Great Sage" is not a Chinese comic, but there is still a clear gap compared to "Nezha Haohai".
I believe many movie fans can feel that many elements in "Nezha Haohai" have a sense of familiarity and are eye-opening!
Earlier, Zhang Haiyang of Xingman Comics said that he was trying to incorporate more Chinese elements into "Where is the Sea", but after watching "Where is the Sea", I felt extremely shocked. This is not an attempt. , this has made the film "Nezha Haohai" a milestone in the history of animation in my country. This film contains rich Chinese elements, including folk paper-cutting, Dunhuang murals, New Year paintings, Chinese paintings and theatrical facial makeup, etc.
It can be said to be a true collection of the strengths of hundreds of schools of thought. Regardless of the background, the characters are all unique in style. With the help of folk art shapes, they form a unique fantasy color.
This movie ranges from traditional mythology to visual animation, and the literary background and traditional culture contained in it are worthy of our careful appreciation.
First of all, let’s talk about the image of the characters in this movie. In our traditional Chinese aesthetics, red represents enthusiasm and joy. In dramatic facial makeup, red represents loyalty, bravery and chivalry.
"Nezha Hao Hai" uses facial makeup to process the characters in it, knowing good and evil from the image, showing the vividness of opera facial makeup.
In opera, the facial makeup and costumes are bright and gorgeous. The facial makeup is divided into red, yellow, blue, white, black, purple, green, silver and other colors. Red represents loyalty, bravery and uprightness, while water white represents insidiousness and cunning. For gods and monsters, gold and
silver.
Let's take a look at the main character in "Nezha Haohai", Li Jing, who is dressed in a red robe when he appears. In this way, the movie confirms Li Jing's identity, the commander-in-chief of Chentangguan! He is an official and also
Powerful person!
And Li Jing is a military general. Perhaps many people will find that in the film, many of Li Jing's actions, such as pointing his sword, holding the sword in his left hand, and carrying clothes in his right hand, etc., are all based on the actions of generals in operas.
This is almost rare to see in existing animated movies.
It must be easy for everyone to find that many of Li Jing's movements are in the style of opera, but it is not difficult for everyone to understand his mentality and emotions at the time through his movements and expressions. This is the charm endowed by traditional drama culture.
Let’s talk about the protagonist Nezha. He was born wearing a red bellyband, which is a typical Chinese doll. The color red comes from nature and represents the worship of the sun and fire. It is obviously a hint that Nezha is the embodiment of justice.
It can be seen from the following plot: Nezha has the nature of a child, is lively and cute, and does not know the world, but also has a tenacity that refuses to admit defeat and a fearless spirit of sacrificing for the people. The shaping of this character is also inseparable from the intuitive expression of the image.
In addition to using opera elements in character creation, drama is also fully utilized in stage effects and fight design.
In the stage effect design, although modern computer special effects are used for presentation, you can still clearly feel the fighting scenes of "Nezha Hao Hai", there are many Peking Opera stages, and the beautiful movements in the flying murals.
The fighting also incorporates the characteristics of opera and martial arts.
Nezha's movements such as dancing the Hun Tian Ling, slinging dragon tendons, brushing fire-tip spears, and playing with luminous pearls all come from opera dances and fighting dramas. When Nezha fights with the Dragon King, in addition to incorporating Peking Opera martial arts movements, it is also accompanied by sonorous and powerful
Peking Opera percussion is thrilling to watch, showing a strong Chinese style and a distinctive Peking Opera style.
It can be said that this is indeed an extremely bold attempt, but everyone has seen the effect. It has a completely different style from the special effects, actions, and fighting scenes of those animated movies we have seen in the past.
Back to character design, in the traditional colors of our country, colors are very decorative. Art works are usually bright and lively, gorgeous but not vulgar, showing simplicity in luxury, thoroughness in thickness, and thick but not gaudy.
Many places in "Nezha Haohai" draw on the exaggerated shapes and rich colors of folk paper-cutting. The images of the dragon king and the sacred deer all come from folk paper-cutting shapes. Even if 3D technology is used to present them, they can still be seen.
In color processing, the five elements of color are used as the basis, and the colors are balanced and transitioned, giving people a brand new feeling. In terms of background processing, in most cases, the background is dark and the foreground is bright, setting off the subject, forming a visual impact, and grabbing the audience's attention.
When depicting the Dragon King of the East China Sea, he actually combined the auspicious "dragon" pattern in traditional New Year paintings and the cunning characters in opera and New Year paintings. In the film, the Dragon King of the East China Sea is green and skinny, and his eyes show a green and fierce light when he is angry. At this point, he becomes a vicious and evil figure.
The dragon leaps across the screen.
In addition, Nezha's master, Taiyi Zhenren, has white hair, a kind face, and fluttering clothes, giving him the image of a loyal elder.
The villain Xiao Bailong is all in white, with cinnabar eyebrows and a white cloak. His eyes are shining against the background of the turquoise water, and his bluish-white teeth are aggressive. On the one hand, this color combination shows that he is of noble birth, and on the other hand, it also implies that he is of noble birth.
He is an arrogant little overlord.
Nezha changed clothes three times in the film, and I believe they all left a deep impression on people.
The color of Nezha's clothing style comes from the colors of New Year paintings and murals. The first time Nezha dressed was when he was born. Li Jing's wife was pregnant for three years and six months and gave birth to a flesh ball, which was finally born in a lotus. He picked it.
A lotus petal transforms into a red bellyband and is wrapped around the body. The lotus has a high status among the people and symbolizes nobility. In Buddhism, children are born in lotuses, which is a symbol of beauty. The Chinese nation's "appreciation of red" is reflected in all aspects: when getting married.
Choose red wedding clothes and decorations, red lanterns, paper-cuts, red envelopes during the Chinese New Year, and red underwear, jewelry, etc. in the Year of the Animal. In traditional Chinese culture, red has the meaning of seeking good luck, avoiding evil, and happiness.
The second time Nezha changed his clothes was after he killed the third prince of the Dragon King. Nezha began to wear a white long coat, blue trousers, black cloth shoes, and a red belt around his waist. This costume
This pave the way for the subsequent development of the plot. White is considered an unlucky color in traditional folk costumes, so white is often avoided in costumes to create a tragic atmosphere for the later development of the plot.
When Nezha was reborn, he changed his clothes for the third time. He wore a lotus suit, with a top made of pink lotus petals, a green lotus leaf skirt on his lower body, a red tassel gun in his hand, a hot wheel on his feet, and a Hun Tian Ling. This
Green and yellow are the main colors used in the design of Nezha at this stage, which fully draws on Buddhist colors. Green is often used in Dunhuang murals, and yellow is the most noble color in Buddhism. In the film, Nezha’s universe circle and hot wheel
They are all golden yellow, which means that Nezha's identity after rebirth is that of the Holy Spirit.
There is also a soundtrack that must be mentioned in the film. I won’t go into details here, but I believe that those who have watched the film will easily find that the soundtrack of this film draws heavily on our country’s opera-style soundtrack.
, but it is matched just right, from the chimes at the beginning to the sadness when Nezha commits suicide, the soundtrack plays an important role.
Therefore, I think the greatest success of "Nezha Haohai" lies in the integration of traditional aesthetic ideas and the penetration of national elements. my country's traditional culture is an inexhaustible resource for animation creators.
Animation development cannot rely solely on technology, nor can it all be copied from foreign countries.
Perhaps we should look back at the essence of our Chinese culture, explore the vitality of national culture with a modern perspective, carry forward the excellent traditions, and reshape domestic cartoons with China's unique artistic style.
