A Study on the Bie-Modernism Features of China's New God Series of Contemporary Animation Films

Abstract

The domestic myth series animation of the new era, represented by New God: Yang Jian and New God: Nezha Rebirth, uses the post-modern art technique of "parody" to incorporate the traditional Chinese myth into the modern narrative mode, through the reorganization of story elements, the innovation of art forms and the rebellion against the aesthetic tradition, with the help of CG (Computer Graphics) animation production technology, particle ink technology, VR/AR technology Modern digital technologies such as computer graphics have changed the presentation and reception of animated films, thus “cutting” them from the content and structural form of traditional myths and stories, and achieving transcendence in ideological connotation, artistic function, aesthetic form and other aspects. Its main innovation lies in the injection of modern spiritual connotation into the pre-modern mythological characters, which leads to the overlapping and merging of the logic of mythological stories and the logic of modern technology showing the characteristics of time and space, which is a different way in the blending of ancient and modern China and the West. Pre-modern myths and stories, the intervention of modern science and technology, The pre-modern myth, the intervention of modern science and technology, as well as the Bie-modern hybrid phenomenon of the co-screen symbiosis and overlapping of post-modern artistic techniques, just fit the pulse of China's current special social form and historical development, and cater to the aesthetic psychology and aesthetic needs of contemporary young audiences, which is the main reason for its success.