Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example

Xiao Chen

doi:doi:10.11648/j.ijla.20241206.15

Research Article |

| Peer-Reviewed

Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example

Xiao Chen^*

Published in International Journal of Literature and Arts (Volume 12, Issue 6)

Received: 8 November 2024 Accepted: 27 November 2024 Published: 23 December 2024

Views: Downloads:

Download PDF

Share This Article

Twitter
Linked In
Facebook

Abstract

The "Reception Aesthetics" theory of the Konstanzer School in Germany holds that the meaning of a literary text depends not only on its own creative intention but also on the understanding of its content. On this basis, the audience is regarded as an important role in the narrative process of animated films, including "aesthetic distance", "expectation horizon", "calling structure", etc. The Birmingham Centre for Modern Literature was established in 1960 and holds a crucial position worldwide. The idea and method of "compilation and decoding" proposed by Stuart Hall made an important exploration for cultural research in China and had a considerable influence around the world. Raymond Williams' "cultural materialism" advocated the organic integration of Marx's historical viewpoints with specific cultural activities to form a new theoretical system. He Yun, a professor from the School of Fine Arts of Southeast University in China, encoded and decoded the hermit figures in Chinese landscape paintings based on the basic framework of "metaphor" and "recluseness", and decoded their emotional experiences. Through the analysis of the work "A Dog Under Bridge", this paper reveals how the author achieves a kind of encoding of narration through artistic techniques, thereby constructing a novel with realistic and transcendent significance. The "dog" in the film is not a simple character image, but a "symbol" with multiple cultural symbolic meanings. Its fate and choices are thought-provoking: life, freedom, and a sense of belonging. On this basis, by adopting an interdisciplinary cross-comparison method, this paper explores the blend of its narrative rhetoric between reality and escape, and how the audience enhances their emotional feelings through their own personal experiences and interpretations, thereby proposing new ideas and inspirations for the narration and emotional expression of Chinese animated films.

Published in	International Journal of Literature and Arts (Volume 12, Issue 6)
DOI	10.11648/j.ijla.20241206.15
Page(s)	178-185
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2024. Published by Science Publishing Group

Keywords

Reception Aesthetics, The Stray Dog Under the Bridge, Narrative, Emotional Experience

References

[1]	Jing Ni Jiang, Analysis of Translations of 'The Little Prince, Linguistic and Literary Lecture Notes. 2023, Vol. 06(No. 17). https://doi.org/10.23977/langl.2023.061701
[2]	Wolfgang Iser, The Structure of the Call of the Text, Literary Prose Effects, Indeterminacy of Conditions of Effectiveness: Theory and Practice. 1975, pp. 228-252.
[3]	Stuart Hall, Encoding and Decoding in Television Discourse, During, Si-mon.ed. The Cultural Studies Reader, Second Edition, London: Routledge, 1993, pp. 507-517.
[4]	Ji Xue, An Analysis of Raymond Williams' Cultural Humanism, Marxism and Reality, 2011, No. 1.
[5]	Raymond Williams, Culture and Society, 1st ed, Beijing: Peking University; Press, 1991. pp. 377.
[6]	Patamawadi Sankhayagan, Tao Te Ching: Moral and Social Action Unified in Peaceful Life, Journal of Namibia Studies, 2023, Vol. 34(No. 2), pp. 23-36.
[7]	Guo Qingfan, Zhuangzi Jizhu, Beijing: Zhonghua Shuju; 2013, pp. 29.
[8]	Cheng Lei, "From 'Cave-Dwelling' to 'Forest-Dwelling': The Evolution of the Mountain-Forest Tradition in Early Chinese Retreat," Journal of Central South University for Nationalities (Humanities and Social Sciences Edition), 2014(No. 6), pp. 148-153.
[9]	Yun He, The Metaphoric Themes and the Theme of Retirement in Traditional Chinese Landscape Painting, Art Exploration, 2021, No. 6, pp. 001, 6-11. https://doi.org/10.13574/j.cnki.artsexp.2021
[10]	Fan Ye, Later Han Dynasty, Beijing: Zhonghua Shuju; 1965.
[11]	Xian Tao Zhengand, Sheng-qiang Lai, The Emotional Diversion Effect of Empathic Expression in Crisis Communication of Online Public Opinion. Review of Journalism and Communication Studies, 2024, Vol. 77, No. 2, pp. 50, https://doi.org/10.14086/j.cnki.xwycbpl.2024.02.004
[12]	Robert McKee, Ti Dongzhou, trans., Story: Substance, Structure, Style, and the Principles of Screenwriting. 1st ed., Tianjin: Tianjin People's Publishing House; 2021. 11, 40th printing, pp 457, 42.
[13]	Zi Yu Zhou, The Image of Double-Born: The Narrative Paradigm of Street Documentary Photography in Europe and America in the 1930s and 1940s and French Poetic Realism Film. Foreign Cinema and Television. 2022, 03, pp 109-117.
[14]	Wei Dong Ren, Key Concepts of Western Literary Theory: Reception Aesthetics. Foreign Literature, 2022, 7(04). Pp 108-117. https://doi.org/10.164/30/j.cnki.fl.2022.04.004
[15]	Maristela, Hilgemann, Mendel, Brand Trends Journal, Lajeado, RS: /Observatóriode Marcas, 2021, April, pp 146.
[16]	Jun Zhao, "A Comparative Analysis of Cultural Differences Between East and West in the Game 'Black Myth: Wukong' under the Hall-Kelly Contextual Culture Theory, Vol. 3, No. 3, 2024, pp. 70-71. https://doi.org/10.20133/j.cnki.CN42- 1932/G1.2024.03.003
[17]	Joseph Pine II and James H. Gilmore, translated by Chongyi Bi, Experience Economy, 1sted., Beijing: Mechanical Industry Press; March 2020. No. 3.
[18]	Ya-dan Shen, The Non-Narrative Nature of Chinese Landscape Space, Tianjin Social Sciences, Vol. 4, No. 4, 2024, pp. 126-135. https://doi.org/10.16240/j.cnki.1002-3976.2024.04.005

Cite This Article

Plain Text BibTeX RIS

APA Style

Chen, X. (2024). Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. International Journal of Literature and Arts, 12(6), 178-185. https://doi.org/10.11648/j.ijla.20241206.15

Copy | Download

ACS Style

Chen, X. Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. Int. J. Lit. Arts 2024, 12(6), 178-185. doi: 10.11648/j.ijla.20241206.15

Copy | Download

AMA Style

Chen X. Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. Int J Lit Arts. 2024;12(6):178-185. doi: 10.11648/j.ijla.20241206.15

Copy | Download

@article{10.11648/j.ijla.20241206.15,
  author = {Xiao Chen},
  title = {Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example
},
  journal = {International Journal of Literature and Arts},
  volume = {12},
  number = {6},
  pages = {178-185},
  doi = {10.11648/j.ijla.20241206.15},
  url = {https://doi.org/10.11648/j.ijla.20241206.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20241206.15},
  abstract = {The "Reception Aesthetics" theory of the Konstanzer School in Germany holds that the meaning of a literary text depends not only on its own creative intention but also on the understanding of its content. On this basis, the audience is regarded as an important role in the narrative process of animated films, including "aesthetic distance", "expectation horizon", "calling structure", etc. The Birmingham Centre for Modern Literature was established in 1960 and holds a crucial position worldwide. The idea and method of "compilation and decoding" proposed by Stuart Hall made an important exploration for cultural research in China and had a considerable influence around the world. Raymond Williams' "cultural materialism" advocated the organic integration of Marx's historical viewpoints with specific cultural activities to form a new theoretical system. He Yun, a professor from the School of Fine Arts of Southeast University in China, encoded and decoded the hermit figures in Chinese landscape paintings based on the basic framework of "metaphor" and "recluseness", and decoded their emotional experiences. Through the analysis of the work "A Dog Under Bridge", this paper reveals how the author achieves a kind of encoding of narration through artistic techniques, thereby constructing a novel with realistic and transcendent significance. The "dog" in the film is not a simple character image, but a "symbol" with multiple cultural symbolic meanings. Its fate and choices are thought-provoking: life, freedom, and a sense of belonging. On this basis, by adopting an interdisciplinary cross-comparison method, this paper explores the blend of its narrative rhetoric between reality and escape, and how the audience enhances their emotional feelings through their own personal experiences and interpretations, thereby proposing new ideas and inspirations for the narration and emotional expression of Chinese animated films.
},
 year = {2024}
}

Copy | Download

TY  - JOUR
T1  - Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example

AU  - Xiao Chen
Y1  - 2024/12/23
PY  - 2024
N1  - https://doi.org/10.11648/j.ijla.20241206.15
DO  - 10.11648/j.ijla.20241206.15
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 178
EP  - 185
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20241206.15
AB  - The "Reception Aesthetics" theory of the Konstanzer School in Germany holds that the meaning of a literary text depends not only on its own creative intention but also on the understanding of its content. On this basis, the audience is regarded as an important role in the narrative process of animated films, including "aesthetic distance", "expectation horizon", "calling structure", etc. The Birmingham Centre for Modern Literature was established in 1960 and holds a crucial position worldwide. The idea and method of "compilation and decoding" proposed by Stuart Hall made an important exploration for cultural research in China and had a considerable influence around the world. Raymond Williams' "cultural materialism" advocated the organic integration of Marx's historical viewpoints with specific cultural activities to form a new theoretical system. He Yun, a professor from the School of Fine Arts of Southeast University in China, encoded and decoded the hermit figures in Chinese landscape paintings based on the basic framework of "metaphor" and "recluseness", and decoded their emotional experiences. Through the analysis of the work "A Dog Under Bridge", this paper reveals how the author achieves a kind of encoding of narration through artistic techniques, thereby constructing a novel with realistic and transcendent significance. The "dog" in the film is not a simple character image, but a "symbol" with multiple cultural symbolic meanings. Its fate and choices are thought-provoking: life, freedom, and a sense of belonging. On this basis, by adopting an interdisciplinary cross-comparison method, this paper explores the blend of its narrative rhetoric between reality and escape, and how the audience enhances their emotional feelings through their own personal experiences and interpretations, thereby proposing new ideas and inspirations for the narration and emotional expression of Chinese animated films.

VL  - 12
IS  - 6
ER  -

Copy | Download

Author Information

Xiao Chen

School of Art, Nanjing University of Information Science & Technology, Nanjing, China

Contact Email

http://orcid.org/0009-0002-6439-2798

Download PDF

Sections

Plain Text BibTeX RIS

APA Style

Chen, X. (2024). Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. International Journal of Literature and Arts, 12(6), 178-185. https://doi.org/10.11648/j.ijla.20241206.15

Copy | Download

ACS Style

Chen, X. Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. Int. J. Lit. Arts 2024, 12(6), 178-185. doi: 10.11648/j.ijla.20241206.15

Copy | Download

AMA Style

Chen X. Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example. Int J Lit Arts. 2024;12(6):178-185. doi: 10.11648/j.ijla.20241206.15

Copy | Download

@article{10.11648/j.ijla.20241206.15,
  author = {Xiao Chen},
  title = {Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example
},
  journal = {International Journal of Literature and Arts},
  volume = {12},
  number = {6},
  pages = {178-185},
  doi = {10.11648/j.ijla.20241206.15},
  url = {https://doi.org/10.11648/j.ijla.20241206.15},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20241206.15},
  abstract = {The "Reception Aesthetics" theory of the Konstanzer School in Germany holds that the meaning of a literary text depends not only on its own creative intention but also on the understanding of its content. On this basis, the audience is regarded as an important role in the narrative process of animated films, including "aesthetic distance", "expectation horizon", "calling structure", etc. The Birmingham Centre for Modern Literature was established in 1960 and holds a crucial position worldwide. The idea and method of "compilation and decoding" proposed by Stuart Hall made an important exploration for cultural research in China and had a considerable influence around the world. Raymond Williams' "cultural materialism" advocated the organic integration of Marx's historical viewpoints with specific cultural activities to form a new theoretical system. He Yun, a professor from the School of Fine Arts of Southeast University in China, encoded and decoded the hermit figures in Chinese landscape paintings based on the basic framework of "metaphor" and "recluseness", and decoded their emotional experiences. Through the analysis of the work "A Dog Under Bridge", this paper reveals how the author achieves a kind of encoding of narration through artistic techniques, thereby constructing a novel with realistic and transcendent significance. The "dog" in the film is not a simple character image, but a "symbol" with multiple cultural symbolic meanings. Its fate and choices are thought-provoking: life, freedom, and a sense of belonging. On this basis, by adopting an interdisciplinary cross-comparison method, this paper explores the blend of its narrative rhetoric between reality and escape, and how the audience enhances their emotional feelings through their own personal experiences and interpretations, thereby proposing new ideas and inspirations for the narration and emotional expression of Chinese animated films.
},
 year = {2024}
}

Copy | Download

TY  - JOUR
T1  - Narrative Strategies of Animated Short Films from the Perspective of Reception Aesthetics: Taking "A Dog Under Bridge" as an Example

AU  - Xiao Chen
Y1  - 2024/12/23
PY  - 2024
N1  - https://doi.org/10.11648/j.ijla.20241206.15
DO  - 10.11648/j.ijla.20241206.15
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 178
EP  - 185
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20241206.15
AB  - The "Reception Aesthetics" theory of the Konstanzer School in Germany holds that the meaning of a literary text depends not only on its own creative intention but also on the understanding of its content. On this basis, the audience is regarded as an important role in the narrative process of animated films, including "aesthetic distance", "expectation horizon", "calling structure", etc. The Birmingham Centre for Modern Literature was established in 1960 and holds a crucial position worldwide. The idea and method of "compilation and decoding" proposed by Stuart Hall made an important exploration for cultural research in China and had a considerable influence around the world. Raymond Williams' "cultural materialism" advocated the organic integration of Marx's historical viewpoints with specific cultural activities to form a new theoretical system. He Yun, a professor from the School of Fine Arts of Southeast University in China, encoded and decoded the hermit figures in Chinese landscape paintings based on the basic framework of "metaphor" and "recluseness", and decoded their emotional experiences. Through the analysis of the work "A Dog Under Bridge", this paper reveals how the author achieves a kind of encoding of narration through artistic techniques, thereby constructing a novel with realistic and transcendent significance. The "dog" in the film is not a simple character image, but a "symbol" with multiple cultural symbolic meanings. Its fate and choices are thought-provoking: life, freedom, and a sense of belonging. On this basis, by adopting an interdisciplinary cross-comparison method, this paper explores the blend of its narrative rhetoric between reality and escape, and how the audience enhances their emotional feelings through their own personal experiences and interpretations, thereby proposing new ideas and inspirations for the narration and emotional expression of Chinese animated films.

VL  - 12
IS  - 6
ER  -

Copy | Download