数字技术视域下的“哪吒觉醒”研究

A Study on “Awakening of Ne Zha” from the Perspective of Digital Technology

摘要: 随着《哪吒之魔童闹海》的热映，数字技术如何介入文化传承再度引发讨论。文章从该片的本体特征出发，将剧本改编、主题创新与数字技术置于同一分析框架，提出数字技术运用于传统文化的三种主要模式——复现、阐释与重构。影片通过对哪吒角色的生成与影像合成技术的创新，实现了对经典叙事的现代化重构与主题再阐释；相较之下，数字博物馆、非遗数据库等案例仍主要依赖复现模式；而部分国产动画在尝试阐释与重构时，往往面临文化意涵简化或技术喧宾夺主的问题。进一步分析表明，《哪吒之魔童闹海》的剧本对传统哪吒故事进行了结构性改编，其内在的成长伦理与身份追问赋予技术形式以意义支撑，技术手段则在造型与视效层面将这些主题转化为可感的影像经验，二者形成互构而非单向决定的关系。数字技术赋能文化传承创新，并非纯粹的技术升级，而是需要与内容层面的创造性转化深度协同；复现、阐释与重构三种路径各有特点与局限，须根据文化遗产类型与传播目标加以审慎选择。研究为数字人文视域下传统文化的活态实践提供了一种分析框架与经验参照。

Abstract: With the theatrical release of “Ne Zha 2 (Nezha: Mo Tong Nao Hai)”, the question of how digital technology intervenes in cultural inheritance has once again sparked significant discussion. Proceeding from the ontological characteristics of the film, this paper situates script adaptation, thematic innovation, and digital technology within a unified analytical framework and identifies three principal modes through which digital technology is applied to traditional culture: reproduction, interpretation, and reconstruction. Through innovations in the generation of the Ne Zha character and in image compositing techniques, the film accomplishes a modernized reconstruction of the classical narrative and a reinterpretation of its core themes. By contrast, cases such as digital museums and intangible cultural heritage databases rely predominantly on the mode of reproduction, whereas certain domestic animations that have attempted interpretation and reconstruction frequently confront problems of oversimplified cultural connotations or an imbalance in which technology overshadows the content. The analysis demonstrates that the script of “Ne Zha 2” structurally adapts the traditional Ne Zha narrative; its inherent ethics of personal growth and inquiry into identity endow the technological form with meaningful support, while the technological means at the level of character design and visual effects translate these themes into a perceptible cinematic experience. The two form a mutually constitutive rather than a unilaterally determinative relationship. Empowering cultural inheritance and innovation through digital technology is by no means a mere technological upgrade; instead, it requires deep synergy with creative transformation at the content level. The three pathways—reproduction, interpretation, and reconstruction—each possess distinct characteristics and limitations and must be prudently selected according to the type of cultural heritage and the objectives of dissemination. This study offers both an analytical framework and an empirical reference for the living practice of traditional culture within the digital humanities perspective.