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摘  要

神话故事来源于远古人民对自然及文化现象的理解和想象。高尔基对于神话的理解：一般来说，神话是自然现象，对自然的斗争，以及社会生活在广大的艺术概括中的反映。神话既然作为一种艺术形式，和雕塑、绘画、音乐、诗歌、小说一样都有自己的叙事方式。将神话故事置于现代语境下研究也赋予了古代神话全新的意义，而神话类国漫电影既是对传统文化的继承也是对况且神话故事作为古代先民的智慧结晶也不应该被现代社会所遗忘。研究神话的叙事方式必要考虑到叙事的时间和空间特质，而电影作为连贯的图像叙事，更注重表达图像在成像前后的叙事语境，也就是空间性。

本文的研究对象为“封神系列”的四部国漫电影。目前“封神榜”系列国漫电影已经上映四部，分别是《哪吒魔童降世》、《姜子牙》、《新神榜：哪吒重生》以及《新神榜：杨戬》，在构建整个电影情节叙事方面，该系列国漫摒弃了以往只在影视特效方面下功夫，重点体现“新”字，保留原本神话的大致主线内容，对人物安排合理“重生”，主体-并置叙事，单个人物独立成片，由小人物展现出来的大故事构建“封神宇宙”的神话空间叙事。本文旨在通过空间叙事中的存在空间、社会空间、文化空间研究“封神系列”的四部国漫电影形成的神话文本空间，再通过探讨电影中出现的叙事动力、叙事结构以及电影塑造的人物形象研究影视中表现出来的神话空间叙事所蕴涵的文化意义。因此，将文本结构与影视内容结合研究是本文的一大创新。

通过案例分析法和文献分析法结合神话类国漫电影在电影市场中的表现，探讨目前国内动漫电影惯用的两种创作模式，提出“封神系列”国漫电影对于传统文化的融合过程以及在现代社会语境之下如何迎合青年观众的市场。最后针对于现阶段，神话类国漫在观众和市场里的表现，分析神话空间叙事的形成以及神话空间叙事和神话类国漫电影之间的相互影响。

本文在研究“封神系列”的文本空间时运用了龙迪勇关于空间叙事中的故事空间，究其原因空间叙事主要应用于研究小说文本，而研究“封神系列”国漫必要从其源头入手，在研究小说文本之后才能展开对“封神系列”电影的研究，而研究封神故事的文本必须要从空间叙事的角度入手。在之后文章里提到的社会空间主要探究传统神话故事在现代语境下的解读和传统文化在新时代的下的发展，以及电影表现出来情感与社会环境之间的映照。因为文章本身研究对象是电影，因此对于电影的研究必不可少，从叙事技巧，叙事主题和叙事涉及的人物形象三个点出发也考虑到了关于空间性的问题，将完整电影情节通过片段溯回和重组，发掘各个对象之间的联系，是对于整个研究对象关于空间方面的考察以及分析出叙事空间形态和符合当代精神的文化意义。因此将这三项融合也是本文的创新点之一。

Abstract

Mythological stories originated from the ancient people's understanding and imagination of natural and cultural phenomena. Gorky's understanding of myth: Generally speaking, myth is the reflection of natural phenomena, the struggle against nature, and social life in the broad artistic generalization. Myth, as an art form, has its own narrative style like sculpture, painting, music, poetry and fiction. The study of mythic stories in the modern context also gives the ancient myths a new significance, and the mythic national marvel film is not only the inheritance of traditional culture but also the crystallization of the wisdom of the ancient ancestors, and mythic stories should not be forgotten by the modern society. It is necessary to consider the temporal and spatial characteristics of narration in the study of myth narration, while film, as a coherent image narration, pays more attention to the expression of the narrative context before and after image imaging, that is, the spatial.

The research object of this paper is the four Chinese comic films of the "God series". There are now four films in the "Gods List" series: Ne Zha, Jiang Zi Ya, The New Gods List: The Rebirth of Ne Zha and The New Gods List: Yang Jian ", in the construction of the whole film plot narrative, the nations abandoned the past only in the special effects of the effort, focus on reflecting the word "new", retain the original myth of the main line content, the reasonable arrangement of the characters "rebirth", subject - juxjuxtion narrative, a single character independent film, by the small man to show the big story to build a "god universe" myth space narrative. This paper aims to study the mythic text space formed by the four national comic films of "the Gods Series" through the existence space, social space and cultural space of the spatial narrative, and then study the cultural significance of the mythic space narrative shown in the films by exploring the narrative power, narrative structure and the characters shaped by the films. Therefore, the combination of text structure and film content is a major innovation of this paper.

Through case analysis and literature analysis, combined with the performance of mythic Chinese cartoon films in the film market, this paper discusses the two commonly used creation modes of domestic cartoon films, and puts forward the fusion process of traditional culture of "gods series" Chinese cartoon films and how to cater to the market of young audiences in the modern social context. Finally, aiming at the current stage, the performance of the mythological national marvel in the audience and the market, the formation of the mythological space narrative and the mutual influence between the mythological space narrative and the mythological national marvel film are analyzed.

In the study of the text space of the "God series", this paper uses the story space of Long Diyong's spatial narration. The reason is that the spatial narration is mainly applied to the study of the novel text, and the study of the national story of the "God series" must start from its source, and the study of the "God series" films can only be carried out after the study of the novel text. The text of the deification story must start from the Angle of space narrative. The social space mentioned in the following article mainly explores the interpretation of traditional myth stories in the modern context and the development of traditional culture in the new era, as well as the reflection between emotion and social environment shown in movies. Since the research object of this paper is film, it is indispensable to study film. Starting from the three points of narrative technique, narrative theme and characters involved in narrative, it also takes into account the problem of space. The complete film plot is traced back and reorganized through fragments to explore the connection between various objects. It is to investigate the space of the whole research object and analyze the narrative space form and cultural significance in line with the contemporary spirit. Therefore, the integration of these three is also one of the innovation points of this paper.