A poster of Ne Zha 2 at a cinema in Yizhuang, Beijing Photo: Chen Mirong/CSST

Mythological films have increasingly become a prominent genre in global cinema, with major productions like The Lord of the Rings (2001-2003), Troy (2004), Beowulf (2007), Avatar (2009), Clash of the Titans (2010), Thor (2011), and Gods of Egypt (2016). In China, Ne Zha 2 builds upon the popularity and reputation of Ne Zha 1 (2019), also known as Ne Zha: Birth of the Demon Child, and has become a new benchmark for Chinese mythological films. Analyzing the Ne Zha films within a Chinese-Western comparative framework offers deeper insights into their artistic characteristics, shedding light on their significant value in both cultural inheritance and artistic innovation.

Characterization

In Western mythological films, character relationships often revolve around themes like divine authority and family lineage, leading to clear-cut hero figures. In contrast, characters in Chinese mythological films tend to be more complex due to the unique emotional ties embedded within Chinese culture.

In Ne Zha 1, Ne Zha initially appears as a rebellious troublemaker, causing havoc in his hometown of Chentang Pass from birth and knocking over Taiyi Zhenren’s alchemy furnace. However, deep inside he is lonely and yearns for validation. His desire for love from his parents and acceptance from the people of Chentang Pass is thwarted by his identity as the reincarnation of the Demon Pill. Despite personal grievances, he still chooses to protect his hometown. Upon learning of his rival Ao Bing’s struggles within the dragon clan, Ne Zha sets aside his prejudices and fights alongside him, ultimately forming a bond of friendship.

Throughout both films, Ne Zha’s evolution reveals the complexity of his character and the multifaceted nature of his personality. He is both a carefree, mischievous youth and a hero who values loyalty, friendship, and responsibility. This layered portrayal makes Ne Zha a more relatable and three-dimensional character, allowing audiences to connect with him emotionally.

Narrative structure

Western mythological films draw upon a wide array of mythological traditions, such as Greek, Roman, Norse, Celtic, Hebrew, and Chinese myths, incorporating diverse storytelling techniques. This approach reflects the global cultural richness and the immense narrative power inherent in these films.

Chinese mythological films are deeply rooted in indigenous mythology and assimilate the heroic narrative style of their Western counterparts, innovatively integrating Chinese stories and Western techniques. The Ne Zha series, for example, is set against the backdrop of Fengshen Bang (the Investiture of the Gods) and features key Taoist mythological characters such as Taiyi Zhenren and Shen Gongbao, along with magic tools and spells. These traditional elements add cultural depth and define the unique narrative identity of Chinese mythological films.

In addition, Ne Zha 2 creatively blends Chinese stories with Western filmmaking techniques. It adopts a fast-paced narrative style to enhance tension and audience engagement, while also incorporating elements from Western mythological cinema that emphasize the sacred and grand nature of mythology. The film skillfully balances humor with the solemnity typical of mythological themes, following the linear structure of the Western “hero’s journey” while introducing spatial elements that add complexity to the plot.

Visual style

The visual presentation of mythological films is a complex fusion of tradition and modernity, culture and technology. Both Chinese and Western mythological films continually explore how to translate ancient myths into stunning cinematic experiences using visual language. While Western mythological films often employ cooler color tones, adapting them to the mood and atmosphere of the respective mythological backdrop, Chinese mythological films tend to favor bright, warm colors.

The Ne Zha films prominently feature red and gold. Red symbolizes Ne Zha’s passion, rebellion, and vitality, as seen in his vibrant red ribbon, while gold represents sanctity, justice, and power, reflected in Taiyi Zhenren’s magical weapons. Western mythological films frequently utilize focal perspective, inspired by Western painting traditions, to create a strong sense of three-dimensionality and space. This technique is especially evident in grand battle scenes, where perspective enhances the depiction of the battlefield’s depth.

In contrast, the composition of the Ne Zha films is deeply influenced by traditional Chinese painting, characterized by scattered perspective. For example, in Ne Zha 1, Taiyi Zhenren’s flight with Ne Zha through magnificent landscapes showcases multiple spatial layers simultaneously, thus enriching viewers’ visual experience.

Traditional cultural values

Both Chinese and Western mythological films embody rich cultural values and serve as key vehicles for the preservation and promotion of their respective traditions. Western mythological films communicate values rooted in individualism, heroism, and the pursuit of honor, drawing from ancient Greek mythology. They also explore themes of redemption, love, and forgiveness, influenced by Christian cultural tenets.

Chinese mythological films, on the other hand, reflect cultural ideals such as Confucianism, Taoism, familialism, chivalric spirit, filial piety, and collectivism.

In the Ne Zha films, the dragon clan’s expectations of Ao Bing mirror the traditional Chinese family value of ensuring the family’s future glory. Though Ne Zha is rebellious, he is an exemplary son who, in his quest to protect his family, is willing to sacrifice his life, underscoring the Confucian virtue of filial piety. When faced with the crisis of the people of Chentang Pass, Ne Zha steps forward, displaying the collectivist value that the needs of the community outweigh individual interests. These expressions of familialism and collectivism align with the traditional Chinese cultural values of prioritizing family, solidarity, and mutual support, in stark contrast to Western cultural ideals.

Gan Lu is from the School of Foreign Studies at Yangtze University.

Edited by CHEN MIRONG