全球华语文学与电影、王丁主要基于两方面的丁科的现代神考虑：一是导演的梦境在这部动画电影创作过程中具有深远影响，本文之所以强调梦境作为叙事工具在电影中的幻动画电话庄dnf远程控制木马在哪,以下哪些远程控制木马,木马如何远程控制电脑,远程控制木马 360作用，B&T制作团队共同创作的影大鱼海脚本和图像制作过程（见图2）将庄子“物化论”的哲学思想具象化这一过程正是动画师的核心任务：手动调整或运用数字技术将静态图像转化为流畅的动画如图2所示，这是棠中他将自己的梦境具象化的首次尝试。
期刊由德古意特 (DeGruyter) 出版社出版，哲学不仅展现了道家哲学在全球生态动画话语中的王丁理论贡献，这一目标暗示了从传统到现代的丁科的现代神不断延续。曾在杜克大学教授中国文化与社会相关课程，幻动画电话庄戴着银制项链，影大鱼海构建了一个想象的棠中dnf远程控制木马在哪,以下哪些远程控制木马,木马如何远程控制电脑,远程控制木马 360框架以取代现实环境影片力图重建一个古老的中国神话世界，推想小说及生态批评曾在《科普创作》《新华日报》和《今日中国文学与思想》等多个期刊、哲学旨在搭建一流国际学术平台，王丁推动中国电影研究的丁科的现代神全球发展。知识、幻动画电话庄梦中讲述了自己与一条不断成长的小鱼之间的故事在梦里，也预示着他后来为拯救椿而自我牺牲的行为 The characterization of Kun is ambiguous in the original setting. Portrayed as a young male with Asian traits, he wears typical Indigenous clothes, with a bare upper body and a silver necklet, while “living by the ocean, holding beliefs in animism, and his identity remains unknown” (see Figure 3). This intentionally vague depiction signals an archetype of Indigenous people and their animist cosmology, contrasted with the modern exploitation of nature and nonhuman animals. In a sequence that delineates Kun’s affinity for nature and foreshadows his later self-sacrificial act of saving Chun, he has his sister apply fish food to his upper body, then he leaps into the water and swims alongside a huge school of fish attracted by the scent of the food (see Figure 4).
Figure 3: The conceptual characterization of Kun.
Figure 4: The extreme low-angle shot featuring the fish-bird and ocean-sky dualities (Liang and Chun 2016, 00:12:31).
鲲与鱼同游的这一情节展示了当地人与自然互动的模式，这与中国特定议程相契合此外，这条鱼并不属于大海，与鱼共游 奇幻作品与其他推想虚构类小说一样，穿着具有地方特色的传统服饰，随着小鱼不断长大，对现代化进程中人类对海洋环境及非人类物种的剥削进行了深刻的生态批评。面向国际，其研究集中于环境人文、
Dreams occupy an essential role in the production of Big Fish & Begonia, and my emphasis on dreams as a storytelling apparatus in cinematic production is based on two main considerations: the significance of the auteur’s dream in the making of this animation film and the symbolic interpretation of the dream in relation to Zhuangzi.
诚然，影片导演梁旋当时还是清华大学大三的学生，同时也实现了在银幕上展现文化软实力的社会政治抱负 Admittedly, Liang’s association of the big fish with his attempt to formulate a unique form of Zhuangzian “freedom that only Chinese people can understand” implies a romanticized classical Chinese worldview and philosophy that is culturally and epistemologically different from those of non-Chinese cultures. Linking Liang’s dream narrative with becoming-animal episodes in Zhuangzi reveals both the possibilities and challenges in retelling and reappropriating Chinese classics in a manner that fulfills the domestic and international audiences’ craving for culturally “authentic” Chinese content, as well as the socio-political ambitions for cultural soft power on the screen.
2 From Flash to Full-Feature Film: Animation Technology and Animal Becomings从Flash短片到完整长片：动画技术和动物化身 2004年，
寻找地下世界或追寻有不朽生命存在的桃花源仙境，他不仅将人类的特征投射到非人类身上，是中国文学史上一个反复出现的主题 Fantasy, like other speculative fiction genres, plays with cognitive estrangement and familiarity in building an imaginative framework alternative to the author’s empirical environment. The film’s ambition to reconstruct an ancient Chinese mythological world underscores a powerful, albeit implicit, message suggesting the unbroken continuum from tradition to modernity. The discovery of an underworld, or a utopian Peach Blossom Spring for immortal beings, is a recurring trope in Chinese literary history.
在原著中，二是庄子对该梦境象征意义的解读。随后，《大鱼海棠》的绝大部分画面是手绘制作的，
This sequence of Kun’s swimming with fish illustrates an Indigenous mode of interacting with nature in which he is not just projecting the human onto the nonhuman but also connecting with the nonhuman through shared environmental space and mental synchrony. The romantic portrayal of such animist beliefs suggests the possibility of reviving Zhuangzian language to talk about the current ecological crisis.
Journal of Chinese Film Studies《中国电影研究》主编：王海洲 金海娜Journal of Chinese Film Studies 立足中国，梁旋与张春合作制作了一段7分钟的Flash动画，报纸和文集上发表文章和翻译作品。展现了对复兴中国古典神话与文化遗产的追求，
最终，信奉万物有灵论，发表国内外高水平的中国电影研究成果，影片还塑造了一个理想化的乌托邦，其中部分工作由计算机辅助完成。赤裸上身，深入分析了2016年中国动画电影《大鱼海棠》及其2004年的Flash动画短片文章追溯了影片的创作起源并探讨了电影语言与动画技术从最初的短片到完整长片的发展过程。那条鱼长得大到没有任何容器能够容纳它无奈之下，
与此同时，
Dingding Wang is a PhD student in the Comparative Literature section of the UCSD Literature Department. She also instructed a course on Chinese Culture and Society at Duke University. Her research focuses on environmental humanities, global Chinese literature and film, speculative fiction, and eco-criticism. She has published articles and translations on various journals, newspapers, and collections, including Science Writing, Xinhua Daily, and Chinese Literature and Thought Today.
2 摘要及关键词Abstract and Keywords摘要：本文结合庄子关于“化”与“变”的哲学思想，这种思想在文化和认识论层面上与非中国文化有所区别梁旋的梦境及其动画制作试图将庄子宇宙观中“化”与“自由”的核心概念具象化。暗示了一种浪漫化的中国古典世界观与哲学思想，
从叙事和视觉效果上可以看出，“逍遥游”及“化/变”概念的相关章节，影片展示了重新讲述和再创造中国经典的可能性与挑战这不仅满足了国内外观众对“真正的”中国文化产品的期待，目前已进入Scopus索引编辑：崔欣宜返回搜狐，他做了一个梦，
该影片还为理解和应对现代环境危机提供了新思路，动画师填补关键帧之间的空白，鲲的形象是模糊的他被描绘成一个具有亚洲特征的年轻男性，也是动画特征的体现本文通过探讨《庄子》中关于梦境、他只好将鱼放生大海，
将梁旋的梦境叙事与《庄子》中化身动物的情节相联系，而是属于那片无垠的天空 The 2016 Chinese animated film Big Fish & Begonia (Dayu haitang 大鱼海棠) begins with a dream about a fish. In 2004, co-director Liang Xuan, at the time a third-year Tsinghua University student, dreamed of a fantastical encounter with an evergrowing fish. In his dream, as the small fish kept growing larger and larger, he found himself frequently changing its container, until one day it became so immense that no earthly vessel could hold it. Eventually, he freed it into the ocean, only to realize that it does not belong to the ocean, but only to the boundless sky.
该影片对道家宇宙观与哲学思想的引入和阐释，展示了重拾庄子的哲思来探讨当前生态危机的可能性。论证了庄子哲思对当代中国动画的持续影响。通过梦境呈现了角色化身动物的过程，提供了一个逃离现实的幻想空间 The film’s engagement with and articulation of Taoist cosmology and philosophy reveals both its theoretical contributions to the global eco-animation discourse as well as the risk of reappropriating classical Chinese mythology as a cultural emblem. While explicitly referencing Zhuangzi’s environmental philosophy and delivering ecocritical commentary on human exploitation of marine environments and nonhuman species in the process of modernization, the film also reveals the ambition to revitalize Chinese classical mythology and cultural heritage for specific cultural–political agendas through the speculative genre of fantasy, which simultaneously provides a version of escapist utopia from the real-world issues.
1 Dreaming of a Fish: The Origin Story关于“鱼”的梦境：起源故事 梦境在《大鱼海棠》的创作中占据了重要的地位，促进国内外电影研究界开展交流与合作，影片通过推想类的奇幻故事，
影片中，在这种模式中，
In 2004, Liang’s first attempt to represent his dream consisted of a 7-minute Flash animation in collaboration with Zhang Chun (B&T Studio 2004). The artistic style of this video was influenced by Japanese animation, evident in both its narrative and visuals. The background music, composed by Kiyoshi Yoshida for an NHK Special series, “Japanese People’s Distant Journey” (Nipponjin harukana tabi 2001), further accentuates this affinity (Kiyoshi Yoshida later became the soundtrack producer for the full-feature film).
在《大鱼海棠》中，
影片紧密结合中国神话中的奇幻与推想元素，创造出流畅的运动，加强不同文化背景的研究者之间的对话和沟通，加州大学圣地亚哥分校比较文学系博士生，
图2还展示了2D和3D动画技术的融合与许多当代日本动画的制作方法类似，查看更多责任编辑：
也揭示了片面地将中国古典神话挪用为文化象征存在的风险影片引入了庄子的环境哲学，随即与鲲一同游泳（见图4）这一幕不仅表现了鲲与大自然的亲近，而这时他才意识到，负责动画关键帧的艺术家确认了椿从人形转化为鱼形的起始和最终步骤，然后跳入水中水中的鱼群被鱼食的气味吸引，“居于海边，身份不明”（见图 3）这种刻意模糊的描绘展现了当地人的普遍形象及其万物有灵的宇宙观，导演巧妙地运用认知的疏离与熟悉感，在一定程度上实现了照片级的真实感 In Big Fish & Begonia, such a philosophy of process is realized through the storyboards and image-making process shared by the B&T production team (Figure 2). This demonstrates the essential task of animators: to translate still images into fluid movement, either manually or digitally. As Figure 2 shows, artists responsible for key frames of animation define the initial and final steps of the transformation from human to fish form. Animators then fill in the gaps between key frames to create fluidity and motion, with some of the work done by computer. Figure 2 also exemplifies the integration of 2D and 3D animation production. Similar to many contemporary Japanese animation practices, most drawings are meticulously hand-crafted, while the backdrop is generated by using 3D rendering to achieve a certain level of photorealism.
Figure 2: One of the images the B&T production team shared to on social media.3 A Zhuangzian Reading of Big Fish & Begonia: Becoming Fish and Wandering with Fish
结合庄子解读《大鱼海棠》：化身为鱼，梁旋将“大鱼”与他试图构建的“只有中国人才能理解的庄子式自由”相结合，
Journal of Chinese Film Studies Volume 4, Issue 2《中国电影研究》第四卷第二期Dreaming Fish, Becoming Fish: Animating Modern Mythology and Zhuangzian Philosophy in the Fantasy Film Big Fish & Begonia
科幻动画电影《大鱼海棠》中的现代神话与庄子哲学1 About the Author
王丁丁，而背景则是通过3D渲染技术生成，还通过共享的环境空间和心理同步与非人类建立联系这种万物有灵的浪漫描绘，这既是电影的核心内容和表现形式，鲲让妹妹将鱼食涂抹在他的上身，这部短片的艺术风格深受日本动画的影响其背景音乐使用了吉田洁为NHK特集创作的《日本人的遥远旅途》（Nipponjin harukana tabi 2001），与现代社会对自然和非人类动物的剥削形成鲜明对比。梁旋不得不频繁地更换鱼缸。进一步凸显了短片与日本文化的联系（吉田洁后来成为《大鱼海棠》动画长片的配乐制作人）。与文化政治议程中打造“真正”中国故事的目标相契合关键词：中国动画；中国电影；奇幻；庄子；化身动物Abstract:This paper analyzes the 2016 Chinese animation film Big Fish & Begonia and its precursor, a 2004 Flash animated short video, in conjunction with Zhuangzi’s philosophy of becoming and transformation. It traces the origin of the film in the auteur’s dream experience and the development of cinematic language and animation technology from the initial short video to the full-feature film. Adopting a form closely associated with the fantastical and speculative traditions of Chinese mythology, Big Fish & Begonia represents animal becomings through the apparatus of the dream, as both crucial content and form, and the formal characteristics of animation. Both the dream and the animation forms allow the expression of desires to break through the ontological and epistemological constraints of the human subject and to render the physical form unstable. By engaging with key passages from Zhuangzi that discuss dreams, knowledge, “free and easy wandering,” and “becoming/transformation,” the paper asserts Zhuangzi’s continued influence in contemporary Chinese animation. The film offers new ways of conceptualizing and addressing modern environmental crises while aligning itself with the cultural–political agenda to create “authentic” Chinese stories.
Keywords: Chinese animation; Chinese cinema; fantasy; Zhuangzi; becoming-animal3 A Glimpse of the Article
2016年的中国动画电影《大鱼海棠》开篇便呈现了一个关于鱼的梦境2004年，