To a certain extent, the purpose of film art is to satisfy the desires of the audience, and to contain the subconscious desires through the construction of films that have a very similar relationship with dreams, so that the audience will think that "film is also a dream." ”
The innate nature of man, that is, the internal law of the development of the human mind, is quite decisive for the movement of thought itself, if the development of the mind is subject to the nature of man.
Literature and art, then, are also influenced and restrained by human nature.
The human self is a lost uncertain existence captured in fantasy, and this capture or imagination itself is an effective regulation of the subject's own paradoxical existence, and artistic behavior is one of the appropriate expressions of imagination and even delusion.
Humans use language to convey their thoughts to others, while art conveys more of a complex. The fundamental kinship between film and mythology comes from "the cut of image and story."
The myth of a story, composed of fragmentary visual images formed over thousands of years, has a mechanism similar to the technical approach of film, in which pieces of film are spliced together to present a story.
The development of Chinese neo-mythological animated films, starting from itself, can inherit the essence of the national spirit in the original mythology, and has the presentation of oriental special thinking methods, which is conducive to the audience's group identification with the nation.
Whether it can convey the sense of local experience, cultural affinity and collective unconscious identity is an important factor in the market acceptance of China's new mythological animated films.
For example, compared with a batch of narratives released since "The Return of the Great Sage", it is more in line with Chinese mythology and racial concepts of the same type of creations with high praise.
The early neo-mythological animated film "Quibba 2" tells that the world is composed of three different species: Tianren, Man and Quiba, and this distinction between the world's races is a one-sided reference to Greek and Norse mythology, and there are few native cultures;
"Mobis Ring" once claimed to be the Chinese animated version of "Star Wars", and the producer invested a huge amount of 130 million yuan, but it eventually became a failed work, drowning in a sea of Chinese animation with a large number of but not outstanding quality.
Therefore, in such films, the presentation of the collective unconscious primitive thinking mode of the Chinese audience can be observed through the collective appearance contained in it.
Stories are a narrative method with plot interest handed down from ancient times, and it is a way for human beings to perceive life and emotions. The theme is the main theme contained in the story, which is the core of the story content.
The theme of the story is an important factor that can arouse the audience's unconscious yearning and immerse one's own emotions into the film.
Classical mythology, strange gods and demons, religious witchcraft, etc. are treasures that contain and inherit the core cultural concepts of the Chinese nation, and are macro systems that cannot be separated from telling Chinese stories well.
It can be said that what is being interpreted on the screen is your and my life beliefs, rather than rational expression and artistic imagination, which is a practical charter of primitive faith and moral wisdom, and Chinese civilization has accumulated into a mythical system with national characteristics and relatively complete values with the passage of time in its embryonic era.
And this is the source of the national spirit, the place where the collective appearance of this race is presented.
In terms of the choice of theme in Chinese neo-mythological animated films, it can be seen that it belongs to the group moral logic of the Chinese nation with common beliefs and emotional values, and this is also the presentation of the original thinking of the collective unconscious.
The existence of primitive desires - the clash of shadows and morality
Instinct is a common psychological phenomenon of human beings, and the needs stored in the human body are met and released, so as to maintain the balance of energy in the human body.
Freud explained instinct as the primitive impulses and basic needs of human beings in the domain.
The instinct of life is a kind of instinctive energy of survival, prospect, and love, representing a positive vitality. The instinct to die manifests itself as another opposing force in the development of life.
Jung saw negative instinctive desires as shadow archetypes, "an unconcealed fragment of the most secret life, seen as the source of all evil, referring to those natural natures that are concealed by the mask of personality." ”
With the development of human civilization, this dangerous thinking hidden in the unconscious is gradually detected by human subjective consciousness, and thus suppressed by reason in the depths of the unconscious, but this positive and negative thinking in the human heart is in a contradictory state of intertwined coexistence and opposition.
And in order to combat this negative thinking that no longer affects one's own subjective consciousness all the time, moral concepts have become a binding law that must be possessed.
Ernest Becker said:
"Society has to set up ways to make its members feel heroic, and this is one of the greatest challenges of the 20th century."
We desperately need a hero as a myth in action.
Heroes, carrying wishes and beliefs.
At the deepest level, heroes are actually created by us, and they are our collective myth.
Throughout China's 5,000-year history, the glorious figures recorded in the annals must have been people with higher morality.
For example, the spirit of sacrifice and dedication that the Chinese nation has always promoted, Pangu opening up the heavens and turning all things into the earth, Nuwa making up for the heavens to save the sky, and Dayu curing water three times without entering the house, etc., all convey the national concept of advocating dedication and sacrifice.
Whether it is dedication to the group or dedication to others, this national group thinking mode has long been integrated into the subconscious of every Chinese son and daughter as a collective unconscious primitive thinking through the precipitation of time.
In "The Return of the Great Sage", the young Jiang Liu'er will resolutely break into the cave of the monster alone in order to save the girl; In "Big Fish and Begonia", Shu chooses to exchange his freedom for Tsubaki's life, and "The Origin of the White Snake" Ah Xuan is willing to transform into a demon for Xiaobai;
In "Nezha: The Demon Child Descends", Li Jing chooses to sacrifice himself to help Nezha get rid of the fate of Heavenly Thunder Descending; "Jiang Ziya" Shen Gongbao knew that there was no return when facing the Nine Tails, and still did not flinch to buy time for the little Nine Reincarnation.
Through the expression of the animated film, it presents a thinking mode that strengthens the innate instincts of the human unconscious.
Regeneration ———— an instinctive desire for life
The instinctive desire for life projects the need for security into a desire to save the world through a role that compensates for the primordial fear of the unknown in nature.
This unconscious dependence on emotions is loaded in the archetype of the defender of human interests and the successor of spiritual civilization, just as the long-term desire for life is always what different arts try to show, and the ideograms in movies always symbolize deep emotional genes:
"For one, it is something that nothing can show. Furthermore, human beings can discover in symbols the meaning beyond the image they can see."
It's like the metaphor of the hero archetype, whether it is the ancient Chinese mythological heroes Yao, Shun, Yu, Father Quao, Houyi, or the ancient Greek mythological characters who are half-human, half-god, half-god, half-demon, and then superheroes all over the screen today:
For example, the individual hero series "Iron Man", "Captain America", "Thor", "Superman", "Batman", "Wonder Woman", etc., followed by the "Avengers" series, "Justice League" series and other group heroes.
Although archetypes have been constantly reshaped into different shapes in the innovation of the times, in the original place of origin is a torrent of emotions that merge with each other.
The hero who is pinned on the desire for life will never die, but will return in a different way to complete the eternal cycle of life, thus satisfying the anxiety release of the human unconscious about the proposition of life and death.
In Chinese mythology, the instinctive desire for life is presented in the mode of transformation and regeneration, Pangu, Qua Father, and Dayu turn into stars after death, and mountains and rivers merge with heaven and earth; Emperor Yan's daughter drowned and turned into a Jingwei bird; Hua Butterfly continues the frontier of Liang Shanbo and Zhu Yingtai.
Although these mythical characters have experienced physical destruction, the inner spirit has survived and gained a new life, which is an eternal spirit of life passed down from generation to generation, which holds people's inner emotions for life, and is the unconscious presentation of the instinctive desire for life.
In the new mythological animated film, Nezha rescued Chen Tangguan and fought against the physical destruction of Tianlei, but Yuanshen survived, and the film created a picture of the people around him feeling relieved about this, which is also the audience's emotional mapping at this time, because, subconsciously, the mind will show a life-centered mode.
And giving one's life is an act of abandoning the primitive instinct.
Therefore, when an individual sacrifices his life for the group, we will instinctively be moved and admired.
This also reflects the distinctive spiritual characteristics of China's collective unconscious "sacrificing the ego and achieving the overall situation". But the disappearance of life in reality is an irreversible existence.
Therefore, when the virtual world created in the film completes the continuation of life, it satisfies the audience's unconscious imagination and desire.
And this continuation needs to conform to the collective unconscious way of thinking, which also means that it needs an internal logical support, such as the reincarnation used in "White Snake: Origin" and "Jiang Ziya", and the symbiotic thinking of the soulized fish in "Big Fish and Begonia" will establish a logical identification with the audience of a subconscious thinking mode.
Fate and Struggle - Resigned to fate and people to conquer the sky
Human exploration of all natural things is a continuous process, and in this process, unknown events or various unexpected coincidences make people at that time always feel that nature and the human world contain a certain relationship, and will change with space and time, and there are some inevitable certainties.
As a result, the trend of "fatalism" thought that originated in Eastern cultures such as Mesopotamia and Egypt was formed.
As mentioned in Confucianism, the "Mandate of Heaven" is said: "Mencius, Dedication to the Heart" Mencius said: "If you die long, you can cultivate your body to save it, so you will also establish your life."
In other words, the fortunes and misfortunes of the people in the world are all arranged by the "mandate of heaven", advocating that people should follow the "reason", which actually has both the meaning of objective laws and the meaning of morality and ethics.
The idea of "Mandate of Heaven" mentioned in the works of the sons and sons of the ancient Qin dynasty, the myths and legends of various dynasties and generations, or the various religions, art cultures, and mythological images of the Western world, are actually deeply influenced by the ancient "fatalistic" philosophical view.
However, human beings yearn for a utopian world, pursue comfort, and experience how to achieve happiness is an instinctive thinking mode inscribed in DNA, and reality cannot be influenced by humans.
Human nature is to desire freedom, but is bound by fate and reality, because powerlessness and weakness are the permanent experience and eternal problems of human beings.
Therefore, the choice of resigned to fate or the choice of human thinking has always been a common theme melody in all kinds of artistic creation, and the most intuitive is the presentation of fighting against different established destinies.
In the film, the characters are able to meet this unconscious instinctive need through different settings. The feeling of powerlessness in the face of reality, in the face of nature, can be temporarily satisfied by immersing yourself in the fantasy world of the movie.
Therefore, the expression of fighting fate is generally present in neo-mythological animated films.
But the satisfaction of wishes comes at a cost, there is no free lunch in the world, the excesses and growth of human civilization, the gradual stacking of external experiences, and the unconscious cognition of reality make them consciously believe that they should follow a setting of equivalent exchange.
That is to say, if you want to satisfy your instinctive desire, you must pay, go through some tribulations, confusion and costs, and then it is possible to obtain a more satisfactory ending.
The setting of the heavenly ladder in "Jiang Ziya" and the severance of the two realms is based on the Chinese mythological allusion "Jedi Tiantong", and the "Classic of Mountains and Seas and the Great Wilderness of the West" mentions that "Zhuan Yi gave birth to old children, old children gave birth to heavy and Li, and the emperor ordered to re-sacrifice to heaven and made Li Qiong go to the earth." The lower ground is Shengxi, at the western pole. ”
It is recorded in the "Shiji Tai Shi Gong Self Order": "In the past, in the past, he was in the Zhuanxi, and the south was heavy with Sitian, and the north was in Li and Sidi. ”
There is also a theory that the Yellow Emperor cut down the building wood, which is known as "Jedi Tiantong", and is considered to be a turning point at the end of the mythical era.
But no matter which version, "heaven and earth are separated, and man and god are not disturbed" is the core focus of Jedi Tiantong.
Tianzun symbolizes the established destiny, and the "destiny of heaven" mentioned several times in the film, as well as the fateful lock that binds the fate of the fox tribe and Xiao Jiu are all force majeure that metaphorically means fate and reality, and the process of Jiang Ziya saving Xiao Jiu is to resist the manipulated fate and is the presentation of the resistance thinking mode.
In this deduction, the death of the four characters with Shengong Leopards bears part of the equivalent exchange cost.
Nezha is a "destiny" demon child, one of the "evil" parties divided by the Mandate of Heaven that will cause disaster to the world, and an existence that is not allowed by the Dao of Heaven.
His destiny should be destined to become a demon and a disaster to the world. But Nezha's choice was to fight against the destiny of heaven, guarded his own heart, and did not become a demon according to the established destiny, as he said, "My life is up to me, not by heaven."
Although there is still a heavenly thunder descending at the end, and the value of himself and Ao Bing's body is destroyed in the struggle, the soul is still there, and it has not completely dissipated in the world as fate delineates.
In "Big Fish and Begonia", the setting of "others" comes from the saying of "Tao", and the film introduces "other people" to control the laws of nature.
And the Tao "is the beginning of all things, the Tao gives birth to one, one life to two, two to three, and three to all things." The Tao is the president's law of all things, the absolute and unchanging general law.
Tsubaki, as a character in charge of the laws of nature, is supposed to follow the cycle of cause and effect, the law of life and death, but in order to return the life-saving grace of Kun, he chooses to go against the sky and exchange half of his life for Kun's soul, and from then on, his life is connected, and he begins to struggle with the fate of entanglement with each other.
What Lingpo said, "I tell you what is the saddest thing. The sins committed can never be atoned for, and we can never pay off what has been committed. ”
This passage reflects the helplessness in real life, in the face of life, old age, illness and death, all human beings can do is passively accept, which is the law of nature and the cycle of cause and effect.
But in the virtual world that is shaped, people's struggle for fate will be projected into it, so there will be a way to achieve this hope.
However, resurrection from the dead is to go against the sky and violate the laws of nature, and the existence of the kunai is therefore not allowed, which also causes that although the kunai is given a new life after death, it has caused many disasters during this period due to complete disobedience to the world law of "God".
In this process, the price of fighting fate gradually becomes apparent, and there will be gains and losses.
The punishment for violating the laws of nature is the flood that destroys the Kami-no-Wai Building, and although Tsubaki saves the residents in the end, this part of the plot still causes a lot of controversy.
The struggle against destiny to get rid of the shackles is an instinctive human mind that can be understood. However, the racial concept of the Chinese nation highlights the sacrifice and dedication of the group, and the priority of the collective.
Therefore, Tsubaki's attempt to save the kunai against the law is acceptable, but for this reason, the restriction of the people in the Walled Towers of the Gods to dangerous situations is rejected by the subconscious of the general local audience.
This in turn presents the collective unconscious response to the group's thinking.
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