The Representation Of Ancient Charm And The Construction Of Narrative Pattern Of Oriental Myth

Since the 21 st century,with the development of computer technology,all kinds of stories carrying human fantasy and romantic interpretation of the world can be made into fantasy films and presented to the public through the large screen.Fantasy films ushered in a new era of development.The Lord of the Rings and Harry Potter series,as the representatives of them,have achieved great success in Hollywood,and domestic fantasy films have sprung up like mushrooms.Among them,there are many excellent works succeeded both in box office and reputation,such as Nezha: Birth of the Demon Child and Monster Hunt.However,there are also some domestic fantasy films that have been criticized and even ignored by the audience.Among those failed films,we can also see gorgeous special effects and many superstars.Therefore,it is necessary to find the root of the success and failure from the narrative of the film itself.Based on this thinking,this paper uses the theory of film narratology to study 52 domestic fantasy films released in the 21 st century,which have a certain audience base.The research is divided into content narratology and expression narratology.At the level of content narrative analysis,this paper uses the perspective of new mythology to observe the narrative theme,role building and narrative space of the sample as a whole.It is found that in the 21 st century,fantasy films in China show a trend of typification and compounding in their narrative themes;in role building,they can be divided into four kinds of common role images: human,Immortal,ghost&demon and monster,with obvious role function transfer;in narrative space,the samples show a clear preference for ancient oriental narrative time and space,but also for modern and western narrative time and space Involved.In the part of the analysis of expressive narratology,this paper discusses the narrator,narrative point of view,narrative level and narrative structure.It is found that in the choice of narrative angle,omniscient perspective and restrictive perspective are equally divided;in the narrative level,two story layers consisting of one story outer layer and one story layer are mostly adopted;the narrative structure also chooses the linear narrative mode corresponding to the two narrative levels,which is the easiest to narrate the story.Based on the description of the narrative characteristics of Chinese fantasy films,this paper holds that one of the strategies with reference value is the inheritance of the spirit core of classical myth and the romantic expression of the dilemma of modernity in the story core,the other is the assistance of the Defamiliarization narrative technique to the technical processing of the story and the digital technology and sound effect to the construction of the illusion reality.In view of the lack of universality in China’s fantasy films,such as single story materials,broken narrative space and incomplete narrative structure,this paper puts forward three optimization suggestions on narrative strategies.One is to learn nutrients from the broader traditional books and tell Chinese stories,the other is to build a complete Oriental aerial landscape,and the third is to grasp the general rules of plot narrative to find the best balance between the artistry and the story.