多模态视角下动画短片《浪浪山小妖怪》的话语分析研究

A Discourse Analysis of the Animated Short Film Nobody from a Multimodal Perspective

摘要: 信息高速发展时代的到来，改变了人们获取和传播信息的方式，从单一的语言形式转变为包含图像、声音和手势等的多模态形式。鉴于此种情况，多模态话语分析应运而生，并被用于分析和解读由多种模态元素组成的复合文本。动画电影《浪浪山小妖怪》是《中国奇谭》系列的首部衍生动画作品，以《西游记》为背景，讲述了四只草根小妖怪因意外得罪大王而被迫出逃，组队假扮唐僧师徒前往西天取经的荒诞冒险故事。该片通过整合文本、图像和声音等各种模态资源，构建了一个关于“无名之辈”坚持良善、追寻自我价值的连贯叙事。本论文基于Halliday的系统功能语法、Kress和van Leeuwen的视觉语法、van Leeuwen的听觉语法以及张德禄的综合理论框架，构建了一个研究框架。采用定性与定量相结合的方法，旨在探讨以下两个问题：在《浪浪山小妖怪》中，语言、视觉和听觉模态是如何参与意义建构的；在意义建构过程中，语言、视觉和听觉模态之间存在什么关系。通过对动画《浪浪山小妖怪》进行多模态话语分析，本论文发现，语言模态通过概念功能、人际功能和语篇功能建构意义，视觉模态通过再现意义、互动意义和构图意义完成意义建构，其中影片独特的“仿冒取经”视觉符号系统以戏仿和拼贴为手法，将传统西游元素进行草根化、喜剧化转译，构成了其视觉叙事的核心创新。听觉模态通过声音视角、社会距离和情态等方面建构意义，尤以民族乐器与西方管弦乐的混搭运用，创造出兼具东方韵味与史诗感的独特听觉风格。在动画中，不同模态之间存在互补关系下的强化和非强化关系，以及非互补关系下的重叠和语境交互关系。在这些关系的综合作用下，共同呈现了完整的故事情节和“坚持良善、为无名之辈正名”的深刻主题。

Abstract: The advent of the era of rapid information development has transformed the ways in which people acquire and disseminate information, shifting from a monomodal linguistic form to a multimodal form encompassing images, sounds, gestures, and other modes. In light of this situation, Multimodal Discourse Analysis emerged and is utilized to analyze and interpret composite texts consisting of multiple modal elements. The animated film Nobody, the first derivative animation of the Yao-Chinese Folktales series, is set against the backdrop of Journey to the West. It tells the story of four grassroots little monsters who, after accidentally offending their king, are forced to flee and form a fake team impersonating Tang Monk and his disciples on a journey to the West to obtain scriptures. Through the integration of various modal resources such as text, images, and sound, the film constructs a coherent narrative about “nobodies” who insist on kindness and pursue self-worth. This thesis constructs a research framework based on Halliday’s Systemic Functional Grammar, Kress and van Leeuwen’s Visual Grammar, van Leeuwen’s Auditory Grammar, and Zhang Delu’s comprehensive theoretical framework. Employing a combination of qualitative and quantitative methods, it aims to explore the following two research questions: how the verbal, visual, and auditory modalities contribute to the construction of meaning in the animation Nobody, and what is the relationship between the verbal, visual, and auditory modalities in the process of meaning construction in this animation. Through a multimodal discourse analysis of the animation Nobody, this thesis finds that the verbal modality constructs meaning through the ideational, interpersonal, and textual functions. The visual modality accomplishes meaning construction through representational meaning, interactive meaning, and compositional meaning. The unique “fake pilgrimage” visual symbol system, through parody and collage techniques, translates traditional Journey to the West elements into a grassroots, comedic adaptation, forming the core innovation of its visual narrative. The auditory modality constructs meaning through aspects such as sound perspective, social distance, and modality, particularly with the fusion of traditional Chinese musical instruments and Western orchestral music, creating a distinctive auditory style that blends Eastern charm with epic grandeur. In the animation, there exist reinforcing and non-reinforcing relationships under complementary relations, as well as overlapping and contextual interaction relationships under non-complementary relations. Under the combined influence of these relationships, a complete storyline and the profound theme of insisting on kindness and giving recognition to nobodies are collectively presented.