英語世界文摘:Ne Zha Tops China’s Animation Film Box Office of All Time

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Ne Zha Tops China’s Animation Film Box Office of All Time

《哪吒》：中國史上最賣座動畫電影

文/艾言（音譯）

By Ai Yan

No doubt, China’s domestic animation film Ne Zha is to be inscribed in the history of the country’s film industry.

毋庸置疑，國產(chǎn)動畫電影《哪吒》將載入中國電影史冊。

By bringing in ￥138.5m on its opening day, Ne Zha overtook the previous record-holder Despicable Me 3 to top the country’s first-day charts for animated films.

《哪吒》首映日票房收入1.385億元，超過此前《神偷奶爸3》創(chuàng)下的紀錄，榮登中國動畫電影首日票房榜首。

On August 2, only one week after debuting, the film’s box office surpassed Disney’s Zootopia to become the biggest ever animation film of the market. The latter stayed dominantly in the chart for more than three years, since 2016.

8月2日，首映僅一周之后，《哪吒》的總票房便超越了迪士尼的《瘋狂動物城》，成為中國史上最賣座的動畫電影。后者自2016年起便雄踞動畫電影票房榜首超過三年之久。

As of August 9, Ne Zha has already grossed over 3 billion yuan (470 million U.S. dollars). Along with the soaring number in box office earnings is people’s anticipation of the Chinese animation film industry.

截至8月9日，《哪吒》票房入賬超過30億元（4.7億美金）。隨著票房的一路飆升，人們對于國產(chǎn)動畫電影產(chǎn)業(yè)的期望也水漲船高。

Loosely based on the Ming Dynasty (1368—1644) novel Fengshen Yanyi (The Investiture of the Gods), the film is about a mythological figure who fights against unfair destiny.

《哪吒》的情節(jié)大致基于明朝（1368—1644）小說《封神演義》，講述了一個神話人物反抗不公命運的故事。

The 110-minute film, by 1980s-born director Yang Yu, better known as Jiaozi (“Dumpling”), offers a retelling of the household tale that strikes a chord with¹ a modern Chinese audience.

這部110分鐘的電影由80后導演楊宇（外號“餃子”）執(zhí)導，他將一個家喻戶曉的傳說重新改編，引發(fā)了中國現(xiàn)代觀眾的共鳴。

In the novel, Ne Zha is a rebellious² teenager who kills whoever gets in his way. His relationship with his father, Li Jing, is tense. His father, a cowardly and selfish commander who governs the fictional port of Chen Tang Guan, forces Ne Zha to commit suicide over an error. Ne Zha is reborn as a three-headed, six-armed deity who rides on two magical “wind-and-fire” wheels to fight his enemies.

在小說中，哪吒是一個遇神殺神的叛逆少年，與他父親李靖的關(guān)系非常緊張。李靖則是一個膽小怕事、自私自利的將軍，鎮(zhèn)守小說里虛構(gòu)的陳塘關(guān)，強迫哪吒以死謝罪。哪吒重生之后，變成了三頭六臂的神仙，腳踏神奇風火輪，與他的敵人繼續(xù)戰(zhàn)斗。

Ne Zha has traditionally been portrayed as an attractive young figure, but Yang has channeled an unconventional spirit into Ne Zha and depicted him as a mischievous boy with cute and ugly features.

傳統(tǒng)意義上的哪吒通常都是英俊少年的形象，而楊宇卻賦予了哪吒與眾不同的精神，將其刻畫成了一個丑萌丑萌的混世魔童。

Another noticeable renovation is that instead of being the chosen one, Ne Zha is a self-made god this time.

另一大創(chuàng)新點則是哪吒這次的成神之路是由自己選定而非被動選擇。

In the film, Ne Zha is born with a “cursed destiny” and unfairly treated by local villagers who believe that the naughty, yet good-hearted, child will grow up to be a public threat. In another deviation³ from the original, the father is depicted as a noble man who would sacrifice his own life to rescue his son.

在電影中，哪吒生來“不祥”，當?shù)厝硕颊J定這個頑劣不堪卻心地善良的孩子長大之后會給世間帶來災難。另一個與原著的不同之處在于，電影將李靖塑造為舍身救子的偉大父親。

“I’m the captain of my destiny, not heaven” is one of Ne Zha’s lines in the film that has become a motto for many and made the rounds on social media. Though supposedly-born evil, Ne Zha chooses to sacrifice himself to save the villagers from death. By doing so, he grows into a hero instead of fitting into his doomed destiny.

“我命由我不由天”是哪吒在電影中的一句臺詞，現(xiàn)已成為許多人的座右銘，在社交媒體上廣為流傳。盡管生而為魔，哪吒卻選擇犧牲自我、拯救百姓。如此，他便成為了一名英雄，而非順應宿命成魔為禍。

“This film is about an individual who fights against prejudice and social exclusion,” says Yang.

楊宇說：“這部電影講述的是個人打破偏見、與社會排斥抗爭的故事?！?

It is not quite a surprise that Yang Yu, while outlining a story for his first feature film, would choose Ne Zha. As a graduate of medical school, he determined to become a self-trained animator and director, and it took him nearly four years to complete his first short animation film See Through.

楊宇在寫他的第一部故事長片提綱時會選擇《哪吒》并不奇怪。從醫(yī)學院畢業(yè)后，他下決心轉(zhuǎn)行，自學成為動畫師和導演，然后用了將近四年時間完成了自己的第一部動畫短片《打，打個大西瓜》。

Released in 2009, the 16-minute pic earned rave reviews and numerous accolades, including the Berlin International Film Festival’s special jury prize for shorts.

這部16分鐘的動畫片于2009年發(fā)布后便好評如潮、獲獎無數(shù)，其中包括柏林國際短片電影節(jié)的評委會特別獎。

Boosted by that success, Yang then founded his own animation company in the Chinese city of Chengdu but spent the next six years toiling on his debut feature and struggling to find financing for the project – what would ultimately become Ne Zha. He was then approached by Coloroom Pictures, Enlight’s startup animation subsidiary, with financing and technical support in 2015. Coloroom’s CEO, Yi Qiao, has said in interviews with the Chinese media that he was attracted to Yang because of his “poverty and his crazy, single-minded passion for animation storytelling.”

大獲成功之后，楊宇在成都創(chuàng)建了自己的動畫公司，之后的六年里他一直在打磨自己的動畫長片處女作，努力尋找項目投資——這一切最終成就了《哪吒》。2015年，光線傳媒旗下的動畫分公司彩條屋影業(yè)找到了他，為他提供資金與技術(shù)支持。彩條屋CEO易巧在接受中國媒體的采訪中談到，他之所以被楊宇吸引，是因為他的“貧窮以及他對動畫敘事瘋狂而純粹的熱情”。

With the film’s success, a group of numbers has been repeatedly mentioned in reports: five years of hard work, 66 editions of scripts, more than 100 designs of Ne Zha’s image, 1,318 visual effect shots, 20 special effects companies and around 1,600 staff members.

隨著電影的走紅，一組數(shù)字在各類報道中被反復提及：5年苦干、66版劇本、100多個哪吒形象設(shè)計、1318個視覺特效鏡頭、20家特效公司以及近1600名工作人員。

“I’ve been challenging my limits all the time, until we ran out of money,” Yang said during an interview with Beijing Youth Daily. “I think it is a miracle we have finished it. I cannot remember which part is the most difficult because the whole process is like a journey in hell⁴.”

“一路走來，每次都是挑戰(zhàn)到自己的極限，直到我們錢都燒光了?！睏钣钤诮邮堋侗本┣嗄陥蟆返牟稍L時說道，“最后能夠完成，我覺得也算是一個奇跡了。我不記得哪個是最難的，因為整個過程像一場地獄之旅。”

Fortunately, Ne Zha did not disappoint him. After breaking a number of records, the box office of the film is expected to exceed four billion yuan (626 million U.S. dollars).

所幸《哪吒》并沒有令他失望。在打破多項紀錄之后，這部電影的票房預計將超過40億元（6.26億美金）。

The soaring box office again ignited people’s passion and expectations for domestic animation films, four years after the “Monkey King: Hero is Back”, a film that has given hope to the industry that had been lagging behind for decades.

飆升的票房再一次點燃了人們對于國產(chǎn)動畫電影的熱情與期許。四年前，《大圣歸來》曾經(jīng)給落后幾十年的動畫影業(yè)帶來過希望。

Starting in 2015, “the rise of domestic animation films” has occasionally been mentioned whenever an animation film wins critical acclaim, such as “Big Fish & Begonia”, “Dahufa” and “White Snake”. But insiders say that the domestic industry is still lingering on the starting point.

自2015年起，每當有諸如《大魚海棠》《大護法》《白蛇：緣起》等動畫電影受到好評之時，“國產(chǎn)動畫電影崛起”便時不時地被提及。然而，業(yè)內(nèi)人士稱國產(chǎn)動畫影業(yè)仍然在起點徘徊。

Critics pointed out that the domestic animation film market is still occupied by a large amount of low-quality and small-budget films for the underage and only a few animation films are targeting adults. Meanwhile, original stories are still wanted. Most of the current productions are still adaptations of existing stories from the traditional culture.

評論家指出國產(chǎn)動畫電影市場仍然充斥著大量粗制濫造、成本低廉的兒童影片，只有少數(shù)面向成年人的動畫電影。同時，原創(chuàng)故事依舊比較缺乏。目前大多數(shù)的作品還是改編自傳統(tǒng)文化中的現(xiàn)有故事。

Yi Qiao once mentioned that there isn’t a complete industrial chain in China’s animation industry and most of the animation companies have no capacity to work independently for a film.

易巧曾經(jīng)提到，中國動畫產(chǎn)業(yè)缺乏完整的產(chǎn)業(yè)鏈，大多數(shù)動畫公司沒有能力獨立制作電影。

Behind all of this is the lack of talent in the industry. The scale of the domestic films is expected to reach 210 billion yuan by 2020. However, at least one million professional talents are lacking in the industry. Yang Yu, while producing Ne Zha, had to do a lot of detailed work by himself.

這一切的背后是產(chǎn)業(yè)人才的缺乏。2020年國產(chǎn)影業(yè)的規(guī)模預計將達到2100億元人民幣。然而，整個產(chǎn)業(yè)至少有100萬名專業(yè)人才的缺口。制作《哪吒》的時候，很多細致的工作楊宇都不得不親力親為。

While asked about whether Ne Zha represents the “rise of domestic animations,” director Yang Yu said that “when people stop talking about ‘rise of domestic animations’ and take good animation for granted, that’s when we can say that the industry has risen”⁵.

當被問及《哪吒》是否代表“國產(chǎn)動漫的崛起”之時，導演楊宇說：“當大家都不再提國漫崛起、把好動畫當作理所當然的時候，這個時候國漫就崛起了?！?

注釋：

1. strike a chord with 與……產(chǎn)生共鳴。

2. rebellious 叛逆的。

3. deviation 背離。

4. 此處餃子采訪原話是“（整個過程）就是一個煉獄”。

5. 此處餃子采訪原話是“大家不再提國漫崛起的時候，國漫就崛起了。那個時候，就像陽光、空氣、水一樣那么平淡的東西，但你又非常需要它。當大家已經(jīng)覺得這（看國漫）是非常正常的事兒了，這個時候就真正崛起了”。