The Aesthetic Research Of Chinese Animation Film In The Context Of Guoman Revival

In the context of Guoman revival,domestic animated films combine traditional culture with the characteristics of the times.Through the deconstruction and reconstruction of traditional culture,the audience realizes the joy of resisting and escaping from reality in parody and games,and realizes the spiritual liberation in the absurd and subversion.To a certain extent,this aesthetic pursuit of entertainment has caused the deep digestion of cultural and ideological connotation.In this paper,after in-depth analysis of the deep lack of domestic animation film ideology and cultural connotation through ideography and Plekhanov’s theory of "national spiritual nature",we take this opportunity to continue to explore the connotation and cultural connotation.This paper uses literature research,case analysis,interdisciplinary research and other research methods to interpret the deep connotation construction of the important elements of animation films from the perspective of ideography,sort out the historical development process and different aesthetic changes of Chinese animation films,and then critically examine the limitations of the ideographic layer of domestic animation films,Finally,with the help of "defamiliarization" theory,the paper explores the ways and methods to deepen the connotation of animated films.The first part of this paper gives an overall overview of the context of "Guoman Renaissance" in chronological order,so as to make a general summary of the development process of domestic animated films,and then explores the relationship between films and animated films.By comparing and analyzing the film’s formalism and realism,it is established that the significance of general animated films is to build a deeper expression from a simple image expression,Then,through the "box office difference" phenomenon of domestic and foreign box office drop caused by the cultural background difference,it establishes the existence of the expression dilemma of the current domestic animation film;The second part deeply analyzes the aesthetic narrative of the current domestic animation film through the role image,theme and theme,and explores the audience’s aesthetic preference gradually changed under the influence of the post-modern society,that is,the external social reasons for the connotation and cultural surface of the current Chinese animation film;The third part,aiming at the surface of culture and connotation,analyzes the connotation of domestic animated films in the internal shaping level of works and the expression and reason of shallow cultural level from the aesthetic narrative expression of the role,theme and cultural connotation of these three works,combined with Madame Wilby’s "trichotomy of meaning" and Plekhanov’s "national spirit theory";Finally,using the associative and metaphorical effects triggered by "fuzziness",it explores how to integrate the "implicit" features of Chinese freehand brushwork into images,artistic conception and connotation,and how to extend the distance between the signifier and the signified of symbols in animated films through the "defamiliarization" theory,so as to realize the deepening of connotation and culture.The revival of domestic animated films can not be separated from the exploration of profound connotation and national characteristics.Therefore,the analysis of the external and internal reasons for the externalization of connotation and nationality,and the study of how to deepen the two major issues of connotation and national characteristics,are not only to better integrate our own traditional cultural elements into the works and deepen the connotation,but also to enable domestic animation films to combine the current characteristics,keep pace with the times,and create better Chinese animation films.