A Study On Villains In Contemporary Chinese Fantasy Animated Films

As a distinct signifier of a particular contradiction in a certain era,the villain condensed the aesthetic criticism of the current social status quo and the pursuit of human values in the text of animated films.However,the traditional dualistic view of good and evil and the "pure" role shaping mode carried by the villains in the contemporary Chinese magic animation films are not compatible with the "dialectical view of good and evil" and the "real" aesthetic context of the current society.Therefore,in recent years,Chinese fantasy animation films began to seek for the reconstruction of the value of the villain role and the transformation of the role shaping mode,and constructed a number of recognizable and appealing villain roles such as Aobing and Fengxi.Based on the above development phenomena and problems as the research background,to contemporary Chinese magic animation movie villain of symbolization,narrative structure and development direction as the breakthrough point,under the vision of film and film narrative semiotics in text analysis,comparative study from 2015 to 2020,the villain role during the transitional period of shape features and changes of narrative mode.Among them,we divide the villains into typified and typical villains according to their functions in the films before and after their transformation.On the basis of this classification,this paper analyzes the symbolic representation of the transformation from the stereotyped villain who emphasizes intuitive guidance and "simplicity" to the typical villain who emphasizes inner quality and external symbol resonance;Then,the author sorts out the multi-level conflict design and the tragic and comic narrative performance under the narrative mechanism of the villain’s dramatization.Eventually combined with similar live-action movie magic and foreign excellent animation movie villain in the text of the shape model,such as try to prototype from classic villain role in modern values and aesthetic in the context of refactoring and the ideographic possibility the two direction of villain,for contemporary Chinese animation film villain symbols in performance and the development direction of ideographic innovation study,In order to provide a valuable reference for the narrative and villain shaping practice of Chinese magic animation films.