海洋之歌

看惯了好莱坞式的动画，初初开始观看这部海洋之歌时还有些许的不习惯，然而很快我就沉醉于影片美轮美奂的手绘中了。

色彩明艳，人物勾画鲜明而有特色，随手一截图，每一帧都可以当做壁纸，足见创作者令人惊叹的才能和辛苦付出的努力与心血！

故事改编自爱尔兰民间传说，幸福的一家三口即将迎来第四个生命，可惜女儿的出生却带走了她的母亲，父亲沉与丧妻之痛，儿子因为失去母亲而厌恶妹妹，兄妹俩想要从奶奶居住的城市返回海边，因为妹妹海豹女的身份，一系列神奇的故事就此展开。

结尾小海豹女放弃跟随母亲前往仙界，而选择留在父亲和哥哥身边，做一个普通的小姑娘，爱使她愿意留在人间。

影片最出彩的除了细腻的情感表达和唯美的手绘画面，还有小海豹女动听的歌声。

简单的旋律却美的不可思议，在美妙的歌声里，所有人都获得了救赎。

这真是我看过的最美的动画，如梦似幻，温馨又带着淡淡忧伤，真正优秀的艺术品！

玛查的“实验”与现代科学文明——对电影《海洋之歌》的一点想法总想写些别人没有写过的东西，否则，难免有观点剽窃之嫌。

美国著名法官理查德·波斯纳在其名篇《论剽窃》中曾表达过写作者常有的尴尬：当你想上船的时候，你会发现船上本来属于你的地方已经有人了。

而我通常的感觉是，当我想上船的时候，那本来应有我一席之地的船早已远航。

电影《海洋之歌》有“乡愁”，有人生哲理，都已被网友道尽，我只好另辟蹊径从人性角度来谈谈我的一点想法。

人有喜怒哀乐，也会爱恨情仇，这些都是人性中最基本的情绪（feelings）体现。

如果粗糙一点，我们大致可以将人类的这些情绪分为二类：痛苦的情绪和快乐的情绪。

只因趋利避害也是人性的基本特点，所以，通常我们更觉得快乐的情绪要优于痛苦的情绪，也因此导致古今中外的人们不断思考如何更有效地摆脱痛苦，留住欢愉。

在《海洋之歌》所反映的神话故事里，巫婆玛查（Macha）就想替人类解决这个问题。

她一开始是通过魔法抽走痛苦之人身上所有的情感，以此化解痛苦。

然而，她的魔法会有严重的后果，即被化解了痛苦的人会变成石头。

即使到后来，她的“实验”有了相当的进步，即可仅抽走痛苦的情绪，但这仍有导致“半石人”的风险。

这个神话故事留给我们的思考和结论似乎是：人其实是情绪的动物，没有了情感，人就是行尸走肉，就如同石头；人生本来就苦乐参半，没有了痛苦，人生也就没有任何快乐可言；任何想改变人类本性的实验都是不可取的，最终都是要失败的。

所以说，本片的确有反思科学文明的地方。

神话有时能为现代科学带来灵感。

以往那些常被视为神话和异想天开的想法现在也常常被科学技术予以实现，尤其在涉及人类的能力上和突破人类极限方面。

比如我们现在的载人火箭已使“扶摇直上九万里”成为现实；现在的空间飞行器使“坐地日行八万里，巡天遥看一千河”成为可能。

即使这样，许多人仍然认为，科学在实现人类梦想方面应有它基本的界限，特别是对于那些通常被认为的，起初由上帝设定好的人性范畴的东西，科学最好不要插足。

七情六欲正是上帝造人之初便赋予人类的最基本的人性，因而，任何试图违背相关伦理或试图改变上帝设定的行为都会遭到他们的严厉反对。

正因为这样，诸如无性繁殖、去除人类痛苦情绪的设想只能出现在神话故事当中。

然而，人类所设定的各种界限和禁忌通常也是由人类自己来打破和丢弃的。

如果说“人性即需要”，七情六欲便是人类典型的心理需要，之所以将这类需要视为人性之基本，甚至被假托为上帝之设定，是因为任何人无权剥夺别人的这些基本的情感体验，即使像本片中的玛查基于“母爱”的理由，她也无权代替儿子来选择他自己的情感需要，所以，本片最后还是让玛查放弃了她的愚蠢行为。

然而，在现实世界中，人为自己作选择可被视为最大的自由。

如果巨人麦克·利尔自己想摒弃痛苦，而不是由他母亲来越俎代庖，那么伦理的天平似乎可以向巨人倾斜；同理，若现代科学有这种可能，个人也想通过科学手段来摒除痛苦的情绪，那么，这种行为似乎也应被允许。

虽然，本片也表明了自己的态度，即通过外力控制人类情绪是不可欲的，但它的确引起了我们对这类问题的思考。

（署名石板栽花，转载请注明出处并保持文章完整性）

如果能带走所有的悲伤和痛苦，你愿意吗？

不曾想今年可以邂逅两部主题高度近似表现手法迥异的动画佳作，一部用五彩斑斓的3维影像具化复杂抽象思维，技术理念超前、天马行空、想象力漫溢，一部用工笔手绘的2维图画细密编织万物有灵的世界，感情深沉绵密、凄美轻灵。

成长与失去、放手与救赎，从悲伤中得到力量，从痛苦中学会成长。

面对挚爱的离世，父亲以为沉浸悲伤就能麻木神经，奶奶以为收起感情就能远离痛苦，哥哥以为痛恨妹妹就能换回母爱，妹妹以为自闭禁语就能找到快乐。

然而，万物有灵，灵即感情。

即使有痛苦有悲伤有愤怒，也远胜那凝为雕像无情无感的石头。

当妹妹终于张口唱起精灵挽歌，当哥哥念着“我能行”投入大海，一段拯救与救赎将精灵与人、精神与肉体的多重世界辉映、对照与互文。

一直以为自己早已被皮克斯的动画“收买”，即使面对宫大师的作品亦不为所动，却在开场的短短5分钟就沉沦于那首凄美空灵的天籁之歌：清冷却温暖、悲伤也治愈。

中文配音终于做到了丝丝入扣却毫不喧宾夺主，很感谢配音留下了这首精灵之歌的原声，配以融合了工笔、水墨、油彩、浮世绘画风的每帧影像，已成为“绝美”二字的最佳注释。

有了讲好故事的“心”和“魂”，无论是一丝毛发几百台机器的皮克斯渲染、还是一个动作一周时间的阿德曼摆拍，抑或是一幅动画十年磨一剑的爱尔兰画作，外在的一切无论是先锋还是传统是明快还是清冷都是大美！

（前排提醒：是学术缝合垃圾的搬运）1 IntroductionDirected by Tomm Moore and produced by Irish studio Cartoon Saloon, Song of the Sea is an animated fantasy film based on Celtic mythology. It premiered in September 2014 at the Toronto International Film Festival, where it was described by critics as "a dazzling miracle" (Debruge, 2014). In recognition of its artistic and cultural significance, the film was nominated for the Academy Award for Best Animated Feature in 2015. This paper, situated in the field of film studies, examines the film's relationship to Irish culture and identity.Ireland has a rich cultural history, which has created a wealth of folk legends and myths. However, in the wave of industrialization and urbanization since the 1990s, the country has experienced significant social and cultural changes. Rapid economic development has brought about the influence of foreign cultures and a collective amnesia of traditional culture among its people. Song of the Sea was born out of Tomm Moore's reflection on this context.The film tells the story of a young boy named Ben and his sister Saoirse, who embark on an adventure and ultimately return home, exploring the modern theme of anxiety, pain, escapism and a longing to return to one’s true self in an industrialized society. Through its unique story, art and music, the film evokes specific aspects of Irish culture and identity, such as the relationship between the man and nature, the importance of family and community, and the enduring power of myth and legend.2 Film SynopsisBen, the son of a lighthouse keeper named Conor and his wife Bronach, lived happily on an island until his mother disappeared after giving birth to his sister Saoirse, who couldn't speak. On Saoirse's sixth birthday, she discovered a white coat and transformed into a seal after putting it on and jumping into the sea. After finding Saoirse on the beach, Conor threw the coat into the sea and sent the children to stay with their grandmother on the mainland, but they ran away to return home.During their journey, Saoirse played a shell Bronach had given to Ben, and the melody attracted the attention of three fairies who hoped Saoirse could sing as a Selkie to free them, but they were turned to stone by the witch Macha's owls. Having escaped from there, Saoirse became weaker and weaker, and jumped into a well where she was taken away by owls. In the process of searching for Saoirse, Ben met the Great Seanachai, who told him legends about Macha the Owl Witch, Mac Lir the Great Giant, and the secret of Selkie.In order to save Saoirse, Ben found Macha's house and gave Saoirse the shell. Saoirse played the Song of the Sea, which released Macha's sealed emotions, but Saoirse's health continued to decline. Macha used magic to send the children back to the island, where Ben magaged to get the Selkie coat with the help of seals.Saoirse put on her coat and recovered her health, singing the Song of the Sea, which revived the fairies who had been turned to stone. All the faries gathered on the rock of Mac Lir the Great Giant, who reconciled with his mother Macha before they journeyed to Tír Na Nóg, the otherworld. Bronach appeared and offered Saoirse a choice between being human or a Selkie, and Saoirse chose the former. Bronach took the coat and returned to the fairy world, reluctant to part with her family.3 Story and ThemeContemporary filmmakers increasingly incorporate ethnic elements in their works to promote national culture, leading to a heightened interest in adapting mythology. However, adaptation should not merely innovate expression but also incorporate mythological themes in contemporary contexts.Tomm Moore grew up in close proximity to the natural environment of the Irish nation, and his work Song of the Sea reflects his strong sense of Irish national identity through the use of Irish mythology, demonstrating the potential to convey cultural identity while adapting to modern contexts.3.1 The Fusion of Reality and Myth3.1.1 The Fusion of Narrative Inspiration. Ireland's national theater and literature have played an important role in the country's cultural identity and aspirations. During the period of the Irish Literary Revival from the 1890s to the early 1920s, Irish artists drew inspiration from their country's rich history and mythology to tell stories about its people and explore its identity. In the film Song of the Sea, director Tomm Moore pays homage to this cultural legacy by incorporating imaginative references to Celtic mythology, including characters such as Selkie, Manannán mac Lir (the God of the sea), and Macha (the Goddess of fate and war), which reminds audiences of the rich history and traditions of Ireland.Moore's inspiration for the film came not only from mythology but also from real-life events. While at the beach, fishermen recounted the brutal killing of seals and how it could have been prevented if people remembered the beautiful mythology of Selkies. Moore used this event to remind people of the Selkies' story, which was widely accepted during the Great Famine as a metaphor for the spirits of women who died in childbirth. By incorporating elements of the realistic setting and mythology, the film endows national stories with new social value and contributes to the ongoing cultural conversation about Irish identity.3.1.2 The Fusion of Narrative Space. Song of the Sea is a film that mourns the loss of Irish mythology and seeks to evoke a new understanding of Irish identity, one that is linked to the mythical dimensions of Irish society. To achieve this, the film constructs a dual world of reality and myth, integrating Irish myth and legend seamlessly with the real world. By creating a magnificent fantasy scene, the film expands the richness of the story and invites multiple interpretations.The film presents two contrasting worlds: one is the real world represented by Saoirse and Ben's family, and the other is the fantasy world inhabited by fairies. These two worlds are subtly connected by the character of Bronach, who is both Saoirse and Ben's mother and a Selkie, a creature from Irish mythology. The construction of myth and reality in the film is closely integrated, giving it multiple layers of meaning.

Corrresponding Roles in Two WorldsThe characters in the film also provide a clever counterpoint to the two worlds. Conor, the father, is grief-stricken by the loss of his wife, which mirrors the sorrow of Mac Lir, a figure from Celtic mythology who also wept over the death of a loved one. The similarity between Conor and Mac Lir's images in the film evidences a corresponding relationship. Similarly, the grandmother and Macha both seek to alleviate their sons’ grief but take the wrong approach, which makes mother-son relationship worse. Besides, the old ferrying man corresponds to the Great Seanachai, and the dog Cu corresponds to Mac Lir's Wind Dog. The fairies, who turn to stone as a result of being taken, serve as a metaphor for the alienation of modern humans in industrialization. The emotional being taken mirrors the detachment of individuals from their surroundings in modern society, leading to feelings of disconnection and loss of identity.Through these correspondences, the film portrays the joys and sorrows of both the human family and the fairies in parallel, linking the psychological traumas of modern people to the ancient myths and legends that inform Irish identity. This correlation imbues the film with modern significance and makes it a modern fable. Additionally, the fact that almost all the adult voices in the film play the role of both real and mythical figures underscores the film's central message that we are slowly losing our ability to recognize the magic that surrounds us all the time, expressing the lament over the loss of legend and the need to connect with the cultural heritage.3.2 The Reflection on Human and NatureAs the world becomes increasingly industrialized, society has grown more concerned with environmental issues, leading to a reevaluation of humanity's relationship with nature. This theme has become a central topic in many contemporary animation works, particularly in the works of Tomm Moore. Given that Ireland is an island almost surrounded by the sea and has a lush natural environment, Moore's films frequently reflect his reverence for the natural world.In Song of the Sea, Ben's family symbolizes modern civilization, while the fairies represent the natural world of myth. The contrast between these two worlds reflects traditional Irish culture and highlights the modern world's separation from nature. The departure of Bronach, and Saoirse's removal of her Selkie coat suggests that the mythical world has lost touch with the modern world. The film's ending is a lament for the relationship between humans and fairies, suggesting that humans cannot coexist with nature right now, exposing the harsh reality hidden beneath the fairy tale's surface.

Color Contrast in City and NatureThe film's visual style plays a significant role in conveying this theme. The contrast between the ocean and the interior reflects the contrast between nature and industrial civilization. Ben's family lives on a quiet and mysterious island, while the city where his grandmother resides is modernized with severe industrialization and pollution. The film uses contrasting colors to depict these different worlds. Large aera rendered, varying shades of blue and warm gold create a mysterious and profound atmosphere for the sea and beach scenes, while high-saturation greens and blues evoke a fairy-tale look for the fields, woods, and caves. Contrastly, the main color of the city, such as dark brown and light gray, creates a gloomy atmosphere. Through these objective color depictions and the subjective emotional tendencies of the worlds, children's resistance to city life and their desire to return to the sea, thereby celebrating nature and the human aspiration to reconnect with it.Overall, Song of the Sea reflects the director's regret that humanity cannot live in harmony with nature in the present, and the beautiful expectation of human beings to return to nature. Its depiction of the contrast between nature and industrial civilization through the film's visual style and the characters' experiences conveys the message that despite our modern advances, we must never forget the importance of nature and our connection to it.4 Art and SymbolMany studios around the world have sought to differentiate their work from what they perceive as a diluted form of American cultural and artistic imperialism by drawing on their own indigenous fine arts traditions, mythologies, and cultural imperatives (Wells, 2002). In the review of Tomm Moore's film The Secret of Kells, Burke (2009) highlights the parallel between the movie's focus on preserving the aesthetic beauty of illuminated manuscripts and Moore's preference for traditional hand-drawn painting over CGI. This dedication to traditional techniques may be seen as an effort to preserve and promote indigenous stories through the medium of film.Similarly, Song of the Sea utilizes symbols derived from Irish history and culture to express a distinct national identity in Irish animation. These symbols extend beyond the storyline, revealing a deeper cultural significance that speaks to the importance of maintaining Irish heritage. By using traditional techniques and incorporating culturally significant symbols, Moore reinforces the value of preserving and promoting Ireland's cultural legacy through contemporary animation.4.1 Shapes in Character DesignThe character design in Song of the Sea is distinct from that of Japanese or American animation. Instead of realism or exaggerated cuteness, the shapes used in the film draw inspiration from the geometric designs of the Book of Kells, reflecting the Irish cultural context. The characters are modeled using simple geometric figures, such as lines, circles, and rectangles, emphasizing the essential features of each character, leading to a concise and smooth aesthetic that highlights their unique traits.

Circle, Rectangular and Triangular in Character DesignThe psychological effects of different shapes are known to influence viewer perceptions of characters. In Song of the Sea, the main characters can be broadly categorized based on their predominant shapes. Firstly, characters with circular and curved shapes are associated with a soft and elegant demeanor, evoking feelings of happiness and sunshine. These shapes are commonly used to represent childlike innocence and purity such as Ben and Saoirse. Secondly, rectangular shapes are associated with stability, but can also be perceived as static and rigid. In the film, Conor, the father raising two children alone, is depicted using rectangular shapes to reflect his anguish over Bronach's departure. Finally, triangular shapes, particularly those with sharp horns, convey conflict and contradiction. The owl witch in the film is portrayed with a triangular mouth, emphasizing its evil and malevolent character.Overall, the use of different shapes to represent the characters in Song of the Sea is a deliberate and effective way of conveying their personalities and traits. By leveraging the symbolic associations of various shapes, the film succeeds in creating a visually compelling world with distinctive national style.4.2 Patterns in Scene DeisgnThe art of Song of the Sea incorporates Irish symbolic patterns to reflect the national character of Ireland, which is a significant aspect of the film's unique artistic characteristics. These patterns are represented as geometric designs with religious significance, which serve as decorations and convey the cultural customs and heritage of Ireland. The film employs abstract and concise symbols in its scenes to effectively convey Irish culture.The Celtic Cross has been used as a symbol of cultural heritage since the revival of Celtic culture in the 19th century. Its religious origins make it a significant cultural symbol, representing eternal life. In Song of the Sea, the cross window in Ben's house acts as a bridge between the real world and the fairy world. It reflects Saoirse's seal shadow, symbolizing the unbreakable bond of familial affection that Saoirse and Bronach share. The circle on the Celtic Cross represents eternal love (Wang & Liang, 2018), adding emotional depth to the scene.

Celtic Cross Window Reflects the Seal ShadowPrehistoric burials in the archaeological region of Ireland reveal a plethora of abstract figures, such as spiral patterns and concentric circles, which hold religious and cultural significance in Irish culture. Spiral patterns are common in Celtic culture and are known to represent an ethereal and sacred feeling (O'Sullivan, 2012). These patterns are prevalent in Song of the Sea, with the spiral pattern on the shell being a standout example. Every time Saoirse blows the shell, an aurora of numerous circular patterns appears, leading her to her true identity and guiding the development of the film.

Spiral Shell and Ethereal AurorasThe spiral pattern has been revered in Celtic culture and in the Book of Kells as a sacred symbol representing gods and the cycle of life (Huang, 2016). In Song of the Sea, the music of the spiral shell is believed to be the voice of life and God, while the spirals on the stone shine first when the fairies awaken, and Ben and Saoirse climb through a pipe painted with spiral patterns to reach the fairies' settlement. Thus, the spiral has become a symbol of the fairy, conveying the extraordinary strength and vitality attributed to these mythical beings, which is exactly the Irish national spirit that the director desires to express. The cultural connotations in the film effectively show the Irish spirit and national style in a distinct and meaningful way.

Spirals in Fairy WorldIn conclusion, the use of native Irish symbols in Song of the Seacontributes to the film's unique artistic characteristics, serving as an effective tool to convey Irish culture. The incorporation of the Celtic Cross and spiral patterns add religious significance to the scenes, contributing to the emotional and cultural depth of the film.5 MusicAnimation is an audio-visual art form that employs music to create a certain atmosphere and convey emotions. In Tom Moore's "Song of the Sea", music plays a crucial role in conveying the film's themes, complementing the strong visual effects. The film's melody and score, along with its sound treatment, are necessary for the overall narrative of the film (Bhreathnach, 1980). The distinctive national characteristics of the theme music in "Song of the Sea" reflect the national style and spirit of the film's setting.5.1 Ancient LanguageGaelic, an ancient Irish language, has almost disappeared except for some remote villages in Ireland where it is still spoken. The use of this language in films helps to create a sense of national belonging and adds a sense of mystery and antiquity. The songs in Song of the Sea are written in Gaelic.Amhrán Na Farraige / Song of the SeaIdir ann is idir as / Between the here between the nowIdie thuaidh is idir theas / Between the North between the SouthIdir thiar is idir thoir / Between the West between the EastIdir am id idir áir / Between the time between the placeCasann sí dhom / From the shellAmhrán na farraige / The song of the seaSuaimhneach nó ciúin / Neither quiet nor calmAg cuardú go damanta / Searching for love againMo ghrá / My loveTá mé i ghrá / I am in tuneIn Song of the Sea, the fairies sing songs steeped in Irish customs, and the use of Gaelic adds to the film's authenticity. The song sung by Selkie becomes the key to the fairy's freedom, indicating the director's reverence for Gaelic. This adds a deep connotation to the song, providing the audience with an emotional experience intertwined with history and the present, rather than a simple sensory experience, thereby expanding the emotional depth of the film.5.2 National InstrumentsThe harp is a pioneering instrument of Celtic music and an important part of Irish history. The Irish national emblem features a harp, highlighting the importance of music in the country's cultural heritage. Additionally, Irish bagpipes, another important folk instrument, play a significant role in Song of the Sea. The film's frequent use of a variety of ethnic instruments creates a mysterious and melancholy atmosphere that adds to the film's ethereal quality. The use of a unique Celtic instrument, the "uilleann pipe", adds to the film's slightly melancholy mood. The purity of the sound is one of the highlights of the film, which fits in with the story and brings out the film's slightly melancholy mood.The simplicity of the instruments used in Irish music, rather than their complexity, adds a cinematic feel that makes it easier for the audience to relate to the characters in the film. For instance, Saoirse dances to beautiful piano music as she follows the aurora to her mother's Selkie coat, making the scene come alive and romantic. These instruments not only set the mood of the film but also highlight the characteristics and status of the characters. They provide a unique alternation between ethereal elegance, melancholy, and mystery.Overall, the use of music in Song of the Sea is an essential element of the film's narrative, contributing significantly to its emotional depth, atmosphere, and authenticity. The use of traditional Irish instruments coupled with Gaelic adds a distinct and unique element that reflects the country's cultural heritage and national identity.6 ConclusionAnimated films do indeed reflect national identity. Through the storytelling and themes, the art and symbols used, and the music, animated films convey messages about a particular culture and its values.In terms of theme, Song of the Sea are the fusion of reality and myth and the reflection on human and nature. The film constructs a dual world of reality and myth, integrating Irish myth and legend seamlessly with the real world, which gives it multiple layers of meaning. The film portrays the joys and sorrows of both the human family and the fairies in parallel, linking the psychological traumas of modern people to the ancient myths and legends that inform Irish identity. The film's ending is a lament for the relationship between humans and fairies, suggesting that humans cannot coexist with nature right now. The contrast between the natural world of myth and modern civilization reflects traditional Irish culture and highlights the modern world's separation from nature and the desire to come back to nature.In terms of art, Song of the Sea incorporates native Irish symbols in the design to convey the national character and cultural heritage of Ireland. The use of shapes and patterns in character and scene design effectively conveys the personalities and traits of characters, and the cultural customs and heritage of Ireland. The symbols used, such as the Celtic Cross and spiral patterns, add emotional and cultural depth to the film, making it a visually compelling representation of Irish culture and national style.Music plays a crucial role in creating the emotional depth, atmosphere, and authenticity of the film Song of the Sea. The use of traditional Irish instruments, particularly the harp and Irish bagpipes, along with the Gaelic language, reflects the cultural heritage and national identity of Ireland. The simplicity of the instruments used in Irish music contributes to the film's cinematic feel and makes it easier for the audience to relate to the characters.Overall, in Song of the Sea, by highlighting the unique characteristics and traits of a nation, animated films help to promote a sense of national pride and identity among its people. The use of recognizable themes, symbols and music further reinforces the connection between the film and the national identity it represents. Overall, the thesis argues that animated films can serve as a powerful tool for promoting and preserving national identity.ReferenceBhreathnach, M. (1980). Traditional Music in Ireland. Folklore of Ireland Society, 48, 237-239.Burke, L. (2009). Drawing Conclusions: Irish Animation and National Cinema. Estudios Irlandeses, 4, 187-191.Debruge, P. (2014, September 21). Film Review: ‘Song of the Sea’. Variety, https://variety.com/2014/film/festivals/film-review-song-of-the-sea-1201310423Huang, S.Y. (2016). The Study of Tom Moore’s Line Lnaguage. Unpublished master’s thesis, Guangzhou University, Guangzhou, Guangdong.Li, Y.R. (2022). The Construction of Irish National Identity in Tomm Moore’s Animated Film Trilogy. Unpublished master’s thesis, Beijing Foreign Studies University, Beijing.O'Sullivan, M. (2012). The Spirituality of Prehistoric Societies: A View from the Irish Megaliths. New York: Springer.Wang, Y. (2019). The Study of the Artistic Creation and Aesthetic Features of Toom Moore’s Animation. Unpublished master’s thesis, Northwest University, Xian, Shanxi.Wang, Y.Y., & Liang, J.M. (2018). Kaierte wenhua yujing xia donghua dianying de gexing suzao – cong tangmu moer de haiyangzhige tanqi [The Character Shaping of Animated Films in the Context of Celtic Culture -- from Tomm Moore's Song of the Sea]. Contemporary TV, 359(03), 108-109.Wells, P. (2002). Animation: Genre and Authorship. London: Walkflower Press.学术垃圾搬运完毕感谢看到这里的您（T▽T）

看完《海洋之歌》后，海豹仙女的传说使我回想起同样以这则民间童话为伏线的2010年爱尔兰电影《Ondine》，Ondine意为"她从水中来"，电影中译为水中仙。

这才醍醐灌顶原来西欧北欧诸国，人和海洋生物发生爱情的民间故事是如此经久不衰，生生不息地被重新演绎。

在传说中通常是这样的套路：可以幻化成人的海豹仙女在人间嬉戏时被岸边的渔夫爱上，他迷上了她的美丽，想把她永远留在岸上，就把她的海豹皮偷了藏起来，这下子海豹仙女只地唯唯诺诺做起他的妻子，虽然也享受到了人间的天伦之乐，但命运注定在某一个与神约定的深夜，她将再次穿上海豹衣重返无牵无挂，自由无拘的大海深处。

海豹仙女传说仿佛就是七仙女下凡被偷走羽衣的另一个异国版本，人仙两边各有缺点，一个是轻慢思凡，一个是自私卑琐，结局都是缘分散尽天人两别，站在哪方角度看这个神话都显得有些不近人情，显得过于悲伤了。

然而豆瓣短评里也看到有豆友说这则故事也变成对于失去母亲的儿童一个善意的谎言，因为母亲是桀骜不驯的仙子嘛。

这则悲情故事似乎有了现实作用。

《海洋之歌》要讨论的内容显然与爱情无关，即使有也是一笔带过。

在动画开场时，海豹仙女布罗娜已经是个金发男童的母亲，正身怀六甲准备和朴素憨厚的丈夫康纳迎接下一个孩子的到来。

我们不知道她的爱情缘起，只知道在神秘的夜里她遵循了上苍的暗示选择了消失，唯一能留下的讯息是作为一位母亲的恬淡气质。

这部散漫可爱的影片并没有《辉夜姬》中关于少女罪与罚的辩证讨论，更多的是带出了一份关于亲子关系中放手与释然的治愈。

影片的主体情节是海豹后裔兄妹本和西尔莎的冒险故事，没有妈妈的小姑娘西尔莎在爸爸温柔的宠溺和奶奶霸道的爱中逐渐成长。

父亲康纳是个粗壮的老实人，虽然爱着小女儿西尔莎，却仍然在女儿生日这天情不自禁感怀，这一天也是妻子的”忌日“啊，不善表达的他尽力在灯塔上守护一对儿女，所以面对奶奶针对居住条件的苛责也无话可说，只得把一双女儿无奈地托付给城里的母亲，以求他们远离这片充满魔性的海岸；开着小汽车风卷残云哼哧哼哧从城里来的奶奶就更矫枉过正了，为了避免伤感的事在孙辈身上重蹈覆辙，铁面教育显然是不可避免。

选择回家的奇妙征途上，兄妹两人遇到了各种各样神奇的人：被吸走灵魂变成石头的精灵，邪恶的猫头鹰女巫。

小海豹仙子西尔莎能力有限，尚未学会说话，天赋也尚未全部开启，但依旧靠着一份仙气儿吸引了视她为救世主女神的精灵。

围绕在兄妹身边的每一位客官都被笼罩在一层隐秘的束缚之中，精灵失去灵魂的自由，猫头鹰女巫在丧子之痛下决定告别喜怒哀乐，把它们全部锁进被施了魔法的瓶子，西尔莎在漫漫路途中也日渐衰弱。

这简直就是悬崖上的金鱼姬长大后的后传。

半人半仙的孩子拥有如此奇妙的能量却又如此柔弱，真的适合留在这个人人都习惯了懦弱逃避，痛苦难以消化的人间吗？

抑制真实情绪的邪恶猫头鹰母亲与化泪为海的大力士儿子，和奶奶与主人公爸爸的关系是一对微妙的参照。

影片中作为人类的西尔莎一家，有着东方式的饱含着悲凉哀悯的细腻感情，对家庭圆满的委曲求全。

从奶奶危机感下的控制欲，到爸爸为了保全女儿的不相离，将象征回归家园的海豹衣怒沉海底，直到最后一刻在悬崖边与海豹妈妈布罗娜的最后永别，西尔莎一家都是选择成为不放手的那一方，成全都还要作为仙子的妻子来给。

在一部西方动画电影里出现这种对家庭温暖有着卑微诉求的人物形象真是稀有。

作为影片中亲子关系隐喻的另一边，海豹妈妈只说了一句如果我把海豹衣带走，她就不会和我们的世界再有半点联系，然后白色的海豹衣就轻飘飘在她手里化作烟云溜走。

作为母亲，真的有可能割舍掉母子亲情么？

当然不可能，所以她是用来成全人类的仙嘛，但仙也有自己的欲望，活得比人更超脱，自然承担了放手的角色。

以儿童视角开启的儿童故事，自然也是用儿童的歌与笑颜作为治愈心灵的主料。

也许西尔莎自己是不懂何谓离别，何谓心碎，何谓追逐自由的，是幕后那些渴望被治愈的大人借着儿童的力量让她将万物复苏，将生灵解放，让悲伤逆流。

承载着希望的少女西尔莎是这则童话里的小小救世主，成年人难以做出的选择，难以挑战的命运交到她手上做个终极了断，因为儿童尚未有太多私心杂念与利益取舍的矛盾，她们只想着和谁在一起更开心。

保佑她做出的选择是正确的，风浪之后，只愿她走下仙坛，做个普通女孩。

==========================《海洋之歌》比较亲切的一点在于导演的榜样是宫崎骏，所以文本信息都是含情脉脉的东方式神韵。

梦幻的色彩和优质的作画无需多余的褒奖，精致的手绘背景足以媲美艺术品，让我想起《机械迷城》的美感。

人物造型则有点想中国的80年代美术片，圆头圆脑，眼睛灵动的西尔莎倒是有几分像《雪孩子》里的小兔子。

这部电影到噶闹猛的美国电影学院奖参加比赛显然是不公平，也没必要去纠结结果的一件事啊。

因为评委们只喜欢”打打打打，热血热血热血“。

以及他们的孩子能不能沉下心看这部电影。

他们一定不是电影里这样的家庭吧，呵呵。

一部令人耳目一新的动画电影-《海洋之歌》，精致的传统手绘辅以柔和的色彩，简化的人物形象与浓郁的故事背景相得益彰。

传统手绘方式通过导演汤姆·摩尔生花妙笔般的手法为我们展现了当代动画艺术的新高度。

种种的隐喻，又让影片更加耐人寻味。

观影过程完全陶醉其中，就像是儿时聆听妈妈讲的睡前故事一样。

众所周知，无论是国土面积还是人口数量，爱尔兰都是一个小国。

然而，它们却是世人皆知的文学大国，孕育出许多伟大作家，以及脍炙人口的爱尔兰童话。

这与它们的民间传说、习俗和歌谣息息相关。

《海洋之歌》的创作灵感也是基于此——汤姆·摩尔与孩子在西海岸度假时，在海边见到了海豹尸骸，渔民因渔获减少而捕获海豹，加上他正读着的一本书《海中人：寻找海豹传奇之旅》，也使他想起海豹象征逝者的灵魂，想到人们失去了对于大自然和传统的尊重，就此构思了这个故事。

故事发生在一个爱尔兰小岛，四岁的小男孩本和怀有身孕的母亲渡过了最后一个难忘的夜晚。

母亲刚怀下妹妹西尔莎，便撒手人寰。

六年后，两个孩子的父亲康纳因为多年的悲伤已经满目疮痍，而西尔莎从生下来就不说话。

奶奶让孩子们到都柏林同她一起生活。

兄妹俩无法适应城市生活，在街道游走时，意外遭遇了三个奇怪的小精灵…不同于导演前作《凯尔经的秘密》，本片更能捕获观众对于凯尔特传说的认知，有力的情感为故事提供了支撑。

以兄妹的冒险精神来拉近他们原本疏远的关系，哥哥从一开始就视妹妹为怪胎，处处刁难，不过他最终被路上的险恶和妹妹的真善美唤醒，担当了兄长的责任，这也是母亲的临终教诲。

这些对于儿童观众来说，具有积极向上的意义，为他们提供了一种心灵的成长。

这些故事听上去并不像格林童话和安徒生童话那样美好，但足以激起孩子们的想象。

全片随处可见凯尔特传说的踪迹，“海豹女”是贯穿始终的灵魂，西尔莎就是最后一个海豹女。

片中并未展开解释海豹女的背景，但熟悉传说的人都知道它们。

相传，海豹女居住在爱尔兰岛最北部的多尼戈尔郡，以及苏格兰的奥克尼郡和舍尔特兰岛附近海域，外形与常人并无二致，但体外裹着一层光滑的海豹皮，使它们能够在水中自在遨游。

上岸便会褪皮藏之，变为美人。

豹皮丢失，它们就回不去海洋，一旦找到，就会毫不留情地重回大海。

这就很好的解释了片中为什么康纳要将海豹皮藏在箱中，他是不想重蹈覆辙，想要把女儿留在身边。

这是影片对于父女情的刻画，西尔莎不仅是海豹女的延伸，对于父亲，更是血脉的延伸，和失去妻子的一种救赎。

导演将背景放在1987年的爱尔兰，绝对是有童年烙印在里面的。

故事应该发生在多尼戈尔郡，前文提到过，很多海豹女的传说大都发生于此。

并且，本的房间中有一个“Dúnnan Gall”的音标，我们可以假设地点发生在多尼戈尔西北海岸的某处灯塔。

片中交代过，奶奶家是在都柏林，包括出现了地标茉莉·马龙的雕像。

途中，本写过“Benbulben”这个单词，这正是从多尼戈尔到都柏林的必经路线。

至于电影发生的年份是1981年和1987年，这也与汤姆·摩尔的童年时代相吻合。

除此之外，片中的巨人麦克·李尔也是爱尔兰传说中的海神之一，可他为什么会哭呢？

片中也没有给出明确解释。

传说中的说法不一，最常见的一种是说他妻子芳德离开了他，与救命恩人库丘林私奔。

导致麦克·李尔哭成泪仙儿，眼泪填补了海洋。

在电影中，他的母亲“猫头鹰巫婆”玛查只好将他变成石头，形成了一个岛屿。

玛查是凯尔特神话中象征战争与死亡的女神，时常化作猫头鹰。

不过在传说中，玛査与麦克·李尔并不是母子关系。

只是导演在编撰剧本时，将两者虚构在了一起。

在人物形象的塑造上，奶奶/渔夫康纳与玛查/麦克·李尔互成镜像。

仔细想想，不仅外形，他们的心理特征也如出一辙。

麦克·李尔和康纳两个人都因失去爱人而消沉，最后在母亲的“干涉”下，变得一蹶不振。

奶奶和玛查的人物塑造最为相似，就连海岛上的老轮渡管理员也曾在背后骂她“老巫婆”。

这些细微之处，可见编导的用心良苦。

无论是古老传说还是当代现实，人与人的关系何尝不是 “惊人的相似”呢？

当然，最有意思的是片中那些小精灵，它们都被描绘成了小老头，而不是挥翅膀的女孩，这也是凯尔特童话的特色 - 苏格兰和爱尔兰都有小精灵。

我曾经看过一部迪士尼在爱尔兰拍摄的早期童话片《梦游小人国》(1959)，里面就有小精灵们在林中跳着猎狐舞的优美场景，它们几乎都是老头装扮的小人。

这样看来，电影中的男女老少都有体现，汤姆·摩尔也是通过这样的处理，让各年龄段的观众都能够从中产生情感共鸣，每个观众或许都能从片中找到属于自己的身份认同。

成年观众能从中看到对于家庭和保护家人的使命感，同样也是积极向上的。

《海洋之歌》之所以适用于所有人。

是因为它既没有好莱坞动画那样俗套的情节，这与爱尔兰人坚守自己的传统不无关系。

更因其能唤起大家关注传统文化的初心。

这样看来，国产动画确实还存在很多硬件和软件上的不足，任重而道远。

希望将来国产动画能在“外表俏”“心里美”的道路上走的更远！

近年来对好莱坞动画已经开始产生严重的审美疲劳，对任何一部风格片的诞生都表现得尤为饥渴。

一直在期待一种不一样的东西，就像多年以前的那部疯狂约会美丽都一样，那里面有种很纯粹的灵魂，不是为了搞笑而搞笑，也不是为了煽情而煽情。

如此纯粹的灵魂，我在这部动画里找到了。

有人说海洋之歌抄袭了吉卜力的悬崖上的金鱼姬 。

这么说来确实，无论是故事本身，还是场景，还是可以变身的这种人设，两者非常神似。

既然悬崖上的金鱼姬在前，决不能否认导演有借鉴宫崎骏想法的嫌疑。

但即便如此，我还是更爱这部海豹姬。

为什么？

因为它太美了。

不管是爱尔兰风格的音乐，还是随性的线条与色彩。

跳到水里就变成一只海豹，吹起海螺就有德芙的丝带绕着你转。

完全的天马行空。

看的时候完全不必去考虑什么故事的逻辑性，看完过后只觉得自己就是个孩子。

对一部动画来说，这样就足够了。

真正天马行空的幻想是这个时代的动画作品所缺失的。

就比方说这次奥斯卡获奖的超能陆战队。

并不是我不喜欢它，而是这种跟着萌物打团升级干 Boss 格局的东西已经太死板了。

这已经不是幻想，而是一种已经盖棺定论，定了型的套路。

只是我们一直在被套路，而且被套路得很满足罢了。

当超能陆战队在院线上映得如火如荼之余，全世界也仅有为数不多的人欣赏到了像海洋之歌这样的作品。

但好像也不能说这是份遗憾了。

毕竟正是因为有了那些平庸的陪衬，才能凸显出一部好作品的独特，也才会产生出乐于去欣赏这份独特的人群。

好像有点扯远了。

( ´∀｀)最后还有一点小小的发现要补充的，是关于这部动画在角色概念上的细节处理。

不知道细心的观众朋友有没有发现？

人设故意把现实中的人物与神话里的人物做成了一一对应的造型，譬如：① 现实中的奶奶与猫头鹰巫婆 Macha 的对应；（这个明眼人应该都看得出来，渡轮管理员也在背后咒骂过她 old witch ）② 还有现实中的爸爸与巨人 Mac Lir 的对应；（同样与前者的母子关系，同样拥有一颗被悲伤所浸染而石化了的心）③ 当然还有现实中做渡轮管理的老头儿与 The Great Seanachai 的对应。

（他们同样作为一个故事的局外人，担当着传递和推进故事的作用，wiki 了一下发现 Seanachai 在爱尔兰传统里确实是作为一个 storyteller 的形象）从这种细节上的设计，就可以看出这部动画的用心。

P.S. 说金鱼姬不如海豹姬，其实也只是基于个人喜好原因。

（其实还有标题党嫌疑） ψ(*`ω´*)ψ 因为比较迷恋宫崎骏的早期作品，从千与千寻以后就觉得近年来的新作不如过去，也可能是怀旧心理在作祟吧。

如果单独从技术层面比较这两部作品哪部更好，也是没有什么结果的。

这是我目前为止看过的最美的动画，历时十年的项目，逐帧手绘，视觉风格上完美的融入了浮世绘、工笔、水墨的元素，空灵优美的配乐，一场如梦如幻的童话仙境之旅，唤起人心中所有的美好。

不仅故事完成的好，而且每一个细节都做到完美，真是极致般的视听享受。

画风好美，画面一级棒，配乐也特别好听。

如果去电影院里面看的话，听见与视觉会更美，更享受。

没有什么比依靠的失去带给人的伤害是最大的了，没有什么比一个家庭失去了女人更带有毁灭性了，女人是连接家庭成员的纽带，是整个家庭的核心，而当失去了这个核心以后，整个家庭的故事就开始变得悲伤，而电影正是这样一个悲伤的故事。

电影用一个简单的二维动画刻画出了一个充满寓意与悲伤的神话故事，在那富有想象力的画笔之下，勾勒出来的场景有一丝聪明与机智在里面，但又有大胆的铺陈与想象横置在里面，不但解构出悲伤故事背后那充满对爱与等级的存在，也挥洒出炫丽无比又复杂混乱的内心世界。

那种带有后现代风格的绘画彰显出了导演对于动画反应内心世界的描写，用一种有别于传统动画的画风在一个充满3D动画的世界里又重归传统，这种内心狂妄但又十分严肃的行为风格所诠释出来的故事，充满了对社会陈腐的狂妄，但又充满了对温情故事的尊重，导演看重的是在这个纷乱的世界里所呈现出来最真实最动人的情感，他所抓住的是最能够反应出真实的内心变化与对感情盲目的伤害，借助神话传说来折射社会的陈腐，用事实真相去改变原有不可能存在的等级制度，爱并不能冲破一切，爱只是带给我们想要冲破界限的勇气，当现实与取舍摆在我们面前的时候，原来爱竟然是那么的脆弱与让人痛苦。

电影里没有幸福，从一开始导演已经树立了这样一个核心宗旨，一切都是源于一场悲剧的发生，不可能融合在一起而组成家庭的人们，必定有一个人会默默离开，没有什么理由，但理由又是那么的不可忤逆，从一个美好的祝愿开始，一步步演变成了一个毫无理由的怨恨，那就是母亲的离去带给自己的那种无助感与孤单，而变相的迁怒在了妹妹身上，这种细腻感情的变化看似不可理喻，但又始终有磨不开的人性在里面，导演深刻的抓住了这种细腻感情的描述，一步一步的引导出来了故事感情发展的线索，通过孩子们的痛苦与不可选择的无奈来展现出蕴藏在内心深处的爱与原谅。

导演对于绘画的运用就是基于一种对童真孩子们的想象来创作出来的，它一方面表达了孩子对于整个陌生世界的认知，也对充满幻想与恐惧的世界发散着自己童真的想象。

电影里的这一场冒险是混乱的，混乱的只有添加神话故事来满足对冒险这种故事的诠释，用神话来诠释两种身份地位不同的人是怎么进行相互牵挂与彼此不离不舍的这样一个过程的，导演用兄妹之间的感情来折射身份地位不同的男女之间的爱情，不得不说增添了许多对纯真感情期望，也暂时的放弃了摆在眼前的现实，每个面对现实的人都是痛苦的，就像电影里所描述的一样，把所有痛苦都剥离出以后人就会变成石头，是的，人的感情就是诸多痛苦混合在一起的复杂体，除了痛苦以外人们不存在其他的感情，导演其实就是想要反应出这个社会缺少快乐这样一个主题，难以冲破的等级界限与原本自私冷酷的人性，泛滥的感情只会让人们更加的痛苦，而想要剥离出这种痛苦，人却都会变成如同石头一般的毫无感情。

当然，故事还是基于爱尔兰的民间神话故事，它反应出来的是一段兄妹之间的感情以及拯救各种困就于痛苦的精灵，让世界重新找回往昔的容貌，而真正的了解自己面对现实时所需要做出的抉择。

在2015年奥斯卡最佳动画长片的争夺中，爱尔兰的《海洋之歌》和日本的《辉夜姬物语》一同败给了迪斯尼的《超能陆战队》。

虽然拍电影并非为了争个虚妄的世界第一，虽然《超能陆战队》的口碑也好到惊人，可是，把这三部动画片排排看，《超能陆战队》以萌取胜的商业大法，终归还是落了大俗。

改编自美漫的动画新编，在流风余韵上，远不如相传了千年、突然被唤醒的古老传说。

但有一点是可以肯定的，《超能陆战队》更适合青少年观看，因为它要讲的东西简单，而《海洋之歌》和《辉夜姬物语》，似乎更像是拍给成人看的动画。

它们看起来太不欢乐了，反复述说着主人公的愁苦，歌谣里也流露着历经时间、沧海桑田变幻的伤感。

《海洋之歌》有一个观众都知道会出现的最高潮位，那就是小海豹女亮嗓唱歌，但电影就是要拖到最后，然后用上十几分钟的漫长告别，宣告古老传说的远去。

在此之前，小海豹女咿咿呀呀，吹吹螺号，中间一度还半石化，染白了几缕头发，叫人起了怜意，平添忧虑。

高潮的到来并不意外，可它还是让我想起了默片中的人物开口说话，还有《城市之光》里，盲女重现光明。

有人说，古老传说和童话故事不难拍。

当然，如果你只想给孩子看，那么，照本宣科，看着绘本说话讲故事就可以了。

只要孩子睡着了，它就是一个好故事。

可是，如果要让成年人也能沉浸其中，并且引发淡淡的感触伤怀，那么，这就需要创作者强大的表现能力了。

某种程度上，《海洋之歌》比《辉夜姬物语》还要传统（尽管批了一件现代海边小城的外衣），但它的画风始终如一，不会出现疯狂的夜奔。

与汤姆·摩尔前作《凯尔经的秘密》相似，《海洋之歌》几乎不用透视，无论岛屿还是小城，都有浓浓的手绘本风格。

有人说它是大巧若拙，故意显露出简单笨拙，跟不上当代动画的主流风格。

影片把海岛艺术的旋转图案发挥到了极致，灵动的线条，圆润的圈点，淡彩的风格令每一幅画面都是一张美妙的画作，完全可以拿来作为单纯的视觉艺术欣赏——这么讲确实不为过。

人类、精灵、动物、大海，它们由相似但又不同的线条组成，线条又把它们缠绕和联系在了一起。

哥哥随身带的线，要么拉着妹妹，要么绑着小Q的狗。

老精灵的银头发，千丝万缕，每一根头发，都包含了一个人一则故事（有没有想到古代人的结绳记事），多么神奇的设定，这是传说才能有的惊人魅力。

不难看出，汤姆·摩尔强调线条绘画的终极意义，那就是，在现代生活和古老传说之间，动画片是最好的一根线，它能把文字具象化，同时填充了文字以外的想象空间。

表现在电影里，那还有凯尔特结演变出来的、色彩鲜艳交错的各式图案，丰富的细节、惊人的信息，它们都令这个传说看上去更像传说。

对这名动画片创作者来说，线条就是他用来书写的世界语，能唤醒观众的童趣，生命的初心。

在爱尔兰传说和精灵故事的背后，有人考据出，那不过是古时候人们编造的童话故事。

妇女死于生产，父亲就骗孩子说，妈妈变成了海豹女，游到大海里不回来了。

经过一代又一代人的流传，童话演变到今天，却令现代观众愿意相信，真有过那样神奇的海豹女存在。

泪哭成海的巨人，只需要一段画面，我们就读懂了他的痛苦和悲伤。

神奇的外套，难道不是除了狗狗以外，最萌的存在，无怪乎有人还联想到了宫崎骏的波妞。

在回归传统的道路，他们走了一条跟好莱坞3D动画相反的道路。

或许，这里也不用厚此薄彼，在每一种强势文化的背后，都有害怕消逝和被遗忘的其他文化。

《海洋之歌》把爱尔兰民族的精华奉献在了世人面前，仅有这点，它就堪称伟大。

【中国新闻周刊】