普洛普叙事理论视域下动画电影叙事创新——以《哪吒之魔童降世》为例

Narrative Innovation in Animated Film from the Perspective of Propp’s Narrative Theory—A Case Study of Ne Zha: Birth of the Demon Child

摘要: 以普洛普故事形态学为理论支点，在梳理相关理论及其电影应用研究的基础上，选取动画电影《哪吒之魔童降世》为核心案例，并在关键功能节点辅以同类神话题材影片的简要参照，采用文本细读、功能序列拆解、角色行动范围映射与视听形式分析等方法，考察传统神话改编中的叙事创新机制。研究发现：影片以身份替换和认同缺失建立双重动力，通过“受限–越界–受挫–再选择”的功能循环推动哪吒由被动承受走向主动担当；敖丙、李靖夫妇和太乙真人等角色并非固定类型，而是在阻碍、施惠、帮助与对抗之间发生功能位移；混元珠、乾坤圈、山河社稷图与天劫等神话元素直接参与能力规则、冲突升级和结局修复，动作、色彩、空间与声音则提高了关键功能的可见度。普洛普理论的价值不在于提供固定公式，而在于揭示故事动力、角色选择、结构节奏与视听表达之间的协同关系。

Abstract: Grounded in Propp’s morphology of the folktale and a review of its applications to film analysis, this study takes the animated film Ne Zha: Birth of the Demon Child as its primary case and briefly references comparable mythological animated films at selected functional turning points. Through close reading, functional-sequence analysis, role-sphere mapping, and audiovisual analysis, it examines the mechanisms of narrative innovation in mythological adaptation. The film establishes a double motivation through identity substitution and the lack of recognition. Recurrent movements from restriction and transgression to frustration and renewed choice transform the protagonist from a passive bearer of fate into an active moral agent. Ao Bing, Li Jing and his wife, and Taiyi Zhenren shift among the functions of opponent, donor, helper, and tester. Mythic objects and spaces participate directly in ability rules, conflict escalation, and narrative repair, while action, color, sound, and spatial design make structural turning points perceptible. Propp’s theory is therefore most useful not as a fixed formula but as a framework for explaining the coordination of narrative motivation, character choice, structural rhythm, and audiovisual expression.