is the magic boy first, and then Nezha. The film's subversion of classical mythology is all-round, from the characterization, contradictions to the story background, through the rearrangement of the business model, the list of gods even constitutes the Hollywood McGoffin, so The so-called "Fengshen Universe" is not the target of ancient Chinese mythology, but contemporary superhero movies.
Magic Boy is actually a modern story that refers to self-cognition, but the setting of the twins of the magic pill and the spirit pill cannot be simply understood as the two characters plus the duality of the facial features, or the goodness of a complete personality Evil cutting should be the deep motivation to promote the behavior of the two characters. It is precisely based on the confrontation between "Xian" and "Magic" in traditional culture that the audience simplifies the opposition between magic pill and spirit pill. In fact, magic pill and spirit pill are mixed stones, a metonymy of primitive power. There are no attributes, but the "McGoffin" list of gods defines the spirit pill and the magic pill. Heavenly Tribulation can also act as Li on behalf of Tao Zheng, treat Ling Wan and Magic Wan equally, and even resist the magic weapon of Taiyi Shangxian. It is not a precision-guided punishment for evil or a priori destiny, but just a power discipline. s method. Therefore, in this story, it is not the magic pill that created the magic boy, but the belief in the magic pill shaped the magic boy, and the magic pill’s belief was broken by the objective facts of the catastrophe. Therefore, at the end of the story, the magic boy can get rid of the magic boy. Maru’s belief and use its power to resist the evil pill. In the story of
, the villagers’ suspicion on the character of the magic pill has in turn shaped the stubborn personality of the magic boy. From this, some critics believe that the age of the magic boy fits the description of the infant stage in Lacan’s psychoanalysis, that is, "mirror." An interpretation of myth. In this way, after taking off the golden hoop, the devil boy "aged well" and entered sexual maturity, so he shot his parents, which also coincides with Freud's "father-killing" parable. In the most modern part of the story of the magic boy, psychoanalysis shows its same brutal dominance in modern literary theory.
However, the problem is that "Magic Boy Nezha" is not only a modern story, but also a classic story about heroes. The climax of the original story "Ne Zha Nao the Sea" or "The Romance of the Gods" lies in how Ne Zha saved Chen Tangguan to the sublime through self-sacrifice. The biggest deviation between this classic story and its modern part is that Ne Zha passed family emotions in advance. Education has completed self-discipline, not through the long adventure of playing and causing trouble, flooding Chentang, apology (apologizing at the same time severing grace, not atonement), resurrecting one’s soul from a lotus root, and assisting the king of Wen, but through a single thought He became a partner of justice and preached to the murderous spirit pill. The reason for sacrifice has changed from self-congratulations (in a sense, it is more resistant to patriarchy in line with the development of psychoanalysis) to the fateful outcome of unwilling father to punish. At the end of the story, Ling Wan and Magic Wan fought against the sky in the most tragic way to make a fuss at Chentang Pass, trying to escape the established fate, and finally feeling the awe of the people. In the end, it was the victory of individualism. It was an ode to force. The voice of the original Nezha disappeared from this story. Starting from modern psychoanalysis and classical legends,
's deconstruction of the magic boy Nezha is incomplete or even failed, because the magic boy Nezha itself is a dismantling and collage of culture in order to stir the sensitive nerves of the public. It seems that the sky is strong, but everyone is taking advantage of the fairyland. The sky’s indifference to dragons, undersea monsters, and leopards, "they must be different if they are not of my race" has broken away from the fateful view of humans in the mythological background. And it undoubtedly constitutes an allusion to actual identity politics. The most important thing for a commercial work is to know who its target audience wants and what, in this sense, "Magic Boy Nezha" is completely successful. The "trap" of
"Magic Boy Nezha" for critics is actually the freedom of criticism in a sense. And most of the single criticisms written with prejudices to interpret, it is easy to change another successful commercial film as the object of analysis, because the critics presupposed by these theories are still "author movies" with strong style and distinctive personality. "Thematic works", this criticism method originated from the horizontal transplantation of post-industrial art works by the increasingly perfect Western literary theory. Commercial films and video games born out of more high-density, large-scale collective creation are themselves a field where many "author intentions" are fighting, and the popular spontaneous re-creation has broken commercial or national ideology on the one hand. The monopoly of institutions, on the other hand, will dismantle the “themes” that are not originally centralized even more to pieces. The responsibility of the critic-if the critic should at least have some kind of responsibility to himself-It is concerned with how the text of those smaller units interacts positively with the historical context and daily life experience (at least in the "Magic Boy Nezha", Lacan and "Nezha", even identity politics, Even the subculture circle is a portal entrance that is worth jumping. It is inevitable to look at each other with a smile, but it is not advisable to try to justify it around a certain closed concept). And those self-moving criticisms who are still obsessed with building a symbol matrix and compiling a narrative framework will eventually collapse into smaller units and become footnotes to our understanding of the world.
