海洋之歌

故事一开始就给我们一种特别重孤独感，是因为妻子的离去，整个故事看似在努力的温暖你，实际真的寂寞感越发的重了那一个个玻璃瓶。

里面是我们的情绪化，例如“愤怒”、例如“哀伤”、例如“嫉妒”、“自卑”等等，我们对负面情绪避之不及，但真的离开这些情绪时，我们却又发现自己不是原来的自己了，甚至只是如石头一样毫无生气的躯体。

电影里的两位母亲呵护孩子，认为只有驱散他们头顶的乌云才是爱，然后她们就入了一个执念，生生的让孩子过的更加孤独但是它们存在的意义就是为了告诉我们，一切发生都是过去，一切都已经回不去。

孩子四岁半，全程英文陪我看完这部电影，看到妈妈走的时候他哭成了泪人，他有很多疑问我一直在给他寻找合适的解答，比如为什么妈妈最后要走。

非常好听的歌非常美丽奇幻的画面，应该是有民族感神秘系，我关注了了片中对情绪的描述，把不好的情绪关起来，抽空后的人不如死去。

我们因为丰富的情绪而成为高级动物，也因为敏感的心而饱受痛苦折磨，但是失去了这些情绪，我们就和石头没有区别了……人在成长中，一生都在学习，如何面对处理消化自己的情绪，尤其是孩子，我们作为父母，如果自己都无法学会和自己的情绪相处，又怎样去引导孩子呢

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。

五年前，汤姆·摩尔的长片处女作《凯尔经的秘密》提名奥斯卡最佳动画片，最终败在可能是本世纪至今最好的动画片《飞屋环游记》手中。

五年后，他的第二部长片作品《海洋之歌》在审美、价值、叙事和材料来源方面都是前作的继续：手绘、凯尔特神话、爱尔兰民间传统，还有就是都拿到了奥斯卡提名。

而以今年较弱的阵容，小selkie很有可能拿到小金人。

优质的动画片永远都不可能倒退到前电脑时代的手绘中去，比如片中的一些人物动态为了节省成本，毫无疑问是电脑技术制作的。

而美轮美奂的手绘风格是在动画片描摹真实世界的技术登峰造极之后的另一种探索：Pixar的栩栩如生穷尽了动画技术向逼真努力的道路，于是艺术家们不得不在非真实的方向上寻找推陈出新的进路。

就好像自然主义之后的超现实主义，印象派之后的毕加索。

手绘之“形”无疑是切合该片之“实”的。

“成人—孩童”的二分法贯穿全片，裹挟着“理性—情感”、“现实—想象”、“人造—自然”、“城市—海洋”一系列的二元配对；孩童的胜利，成人的妥协，无疑是一种价值的隐喻。

从更广的视角来看，其实还有一组对立，即作为殖民主义遗产的现代工业社会和后殖民主义意欲挖掘的、属于“当地”的爱尔兰／苏格兰传统文化。

主角一家对于城市生活的拒绝和对大海的依恋除了作为一种情感取向外，还是一个政治立场；再加上温情脉脉的家庭观，便是片中无所不在的乡愁。

这种乡愁源于被压抑的民族文化认同，在后殖民和全球化的双重背景下觉醒，于是也有着双重任务：不但要挖掘身份认同的文化根基，还要让世人知晓。

人人都知道凯尔特神话的存在，但是要让它进入流行文化的正典，在“民族的就是世界的”这类口号下，让它参与到现代消费文化和文化消费中来。

影片讲述的实际上是一个非常无聊的故事，问题就在于把传说与现实融合时，其说教意图过于明显。

女性人物的形象更是不堪入目，要么就是被丑化的老太婆，要么就是无辜的、纯洁的、完美的、自然的精灵，男性幻想中一切美好事物的投影。

然而她们强大却又脆弱，需要缺点很多但坚强忠实的男性来充当护花使者。

与《沉睡魔咒》正好处于两极。

不过这也很容易理解，艺术戏仿的颠覆性意义全部来自于被颠覆对象的权力地位，所以对于一个人尽皆知的迪斯尼童话可以尽情解构，而不为人知的弱势文化中的故事则还需要以正向的方式述说。

《海洋之歌》的全部颠覆性都来自于故事之外的社会性，在于毫无保留地拥抱本地文化并大胆地把它带上国际银幕。

大多数神话都有一些晦涩难懂的地方，而他们都在等着一代代新的艺术家们一遍遍将他们重写，谁的文化没有这样的重写，谁就输了。

这样做的代价就是反复循环地使用既有的社会道德成见，把神话多维的、模棱两可的价值嫁接在我们想要的当代价值上。

好莱坞的所有家庭、亲情等桥段，爱尔兰导演一个都没落下。

这样对原住民文化肤浅、粗暴的再表达，是不是真的没有问题？

当我们“寻根”的时候，实际上是有一个自己预先定义好的“根”，那些现代人自己构建出来的对于前现代的美好想象。

半人半兽的生物和具有魔力的歌声对于每个时代都有截然不同的象征意义，我们只作出浪漫的解读，努力忘记粗砺的另一面。

我们想“回去”的，是一个根本不存在的地方；我们的乡愁没有一个确切的“乡”作为依托。

我们手中只有一张孩童手绘的地图，没有魔法的帮助，无论如何不能找到回“家”的路，城市地下埋葬的精灵是我们唯一的救赎。

后殖民时代复苏的乡愁带来一种憋闷的痛苦，唯有以想象力聊以慰籍，或者还有以想象力建构起来的身份和文化认同。

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《海洋之歌》故事中给我们留下了好多疑问，比如麦克利尔是谁，他怎么就哭得这么伤心？

海豹女妈妈为啥不能唱歌而必须西尔莎唱何解？

玛查又是怎么回事儿？

等等诸如此类问题，要说清楚这些恐怕不是一篇文章能解决的，但至少我们通过了解电影里的神话来源可以解释一些。

　　 　　2 地理及历史： 　　先要介绍下地理及文化，我觉得这是有必要的有助于了解，先说爱尔兰神话是啥，他是凯尔特神话的一部分，那为啥不直接说凯尔特神话，其实是这样的凯尔特实际上是指（英格兰，苏格兰，威尔士以及法国一小部分地区），因此凯尔特神话的故事内容也很庞大。

　　 　　1：神话来源： 　　凯尔特神话（Celtic mythology）是广泛流传于欧洲的古典神话，在欧洲与希腊神话和北欧神话并列。

早期的凯尔特人保持了多神和自己的宗教结构，后来很多神话故事受到了古罗马和基督教影响 。

在很长一段时间凯尔特神话只能通过口头流传，所以一个故事有许多版本，同时很多凯尔特著作因罗马帝国销毁而流失了不少精彩的内容。

本电影中主要来自凯尔特神话中爱尔兰神话故事多一些。

　　 　　3：爱尔兰神话故事 　　前面说了爱尔兰神话故事是凯尔特神话的重要组成部分，那爱尔兰神话故事有哪些内容呢，爱尔兰神话主要是盖尔人的故事，其中最著名的三部故事分别是： 　　1、达努神族的往事和深海巨人族的斗争（Tuatha Dé Danann against Fomorii）， 　　2、库丘林等英雄为主的阿尔斯特传说（Cuchulainn and other Ulster heroes）， 　　3、芬恩与费奥纳英雄们的传奇故事（Fionn mac Cumhaill and Fianna） 　　 　　4：影片中神话人物 　　Mac lir（麦克利尔）：他是爱尔兰神话故事中的海洋之神，上任海神里尔之子，他除了海神的身份外还是一名优秀的魔法师。

他的妻子是芬德（Fand），儿子是玛那威丹（Manawydan） 　　 　　Macha（玛查）：命运与战争的三女神之一，人们经常将她与摩莉甘和尼曼相提并论。

她的名字象征着“战斗”与“愤怒”，并有着“红发的玛查”的别名。

　　 　　Selkie（海豹女）：据说，他们在水中游泳时才穿着海豹的皮，到了陆上以后便会变成非常漂亮的美人。

他们脱下的海豹皮如果被人偷偷拿走并藏起来的话，那么他们便无法回到海里了。

可是即使在水的妖精中都算是难得温厚的他们是绝对不会对将其豹皮藏起来的人们使用暴力或进行咒杀的，他们会和那个人一起生活并结婚。

Selkie似乎也太过于温驯了。

可是之后一旦他们找到海豹皮，便会决不留情地马上回到海里。

真不知道他们到底是温厚还是冷血！

　　 　　5：影片中的故事解析 　　麦克利尔为啥哭？

　　上面介绍了那么多其实都是铺垫，接下来才是真的解析电影 　　麦克利尔（海神）为什么会哭呢：这其实是因为他美丽的妻子芬德，麦克利尔深爱芬德但俩人将常为琐事儿吵架，导致其中一次芬德出走，更不幸的是芬德出走途中遇到了巨人，还记得前面介绍的爱尔兰神话故事内容么，是的就是达努神族的往事和深海巨人族的斗争（Tuatha Dé Danann against Fomorii），因此芬德遇到巨人袭击也就不足为奇了，好在这时候以英雄库丘林上演了英雄救美，于是美人爱英雄也就顺理成章了。

这无异于麦克利尔被带了绿帽子不说自己媳妇跟别人私奔了，我想这理由足以让麦克利尔好好哭一场了。

　　 　　兄妹俩为啥一个精灵一个人？

　　影片中我们知道她有两个孩子一个是男孩哥哥ben（本恩）一个是女孩妹妹saoirse（西尔莎），影片中我们还要注意的是本在妈妈消失的时候已经好几岁，这也说明妈妈不可能必须去海里生下西尔莎，而真正原因是西尔莎不是普通孩子而是和她自己一样是海豹女，海豹女只能是女性所以这就不难理解为啥哥哥ben是普通男孩，妹妹却是精灵族了，这里还需要说明一下关于凯尔特神话中神的概念，神和巨人经常是有混血的，所以爱尔兰神话中好多神都是和巨人的混血，因此海豹妈妈两和孩子不都是精灵或都是人类也就不难理解了。

　　 　　妈妈为什么还要抛弃家庭？

　　实际上影片过于含糊，这不得不提及前作《凯尔经的秘密》导演在凯尔经秘密的叙事更加匪夷所思交代不清。

到了《海洋之歌》实际上叙事已经比上一部圆润多了，好言归正传 　　首先：通过我们对海豹人的传说不难解读，海豹女妈妈有理由随时随地莫名的离开这个家庭，但作为2个孩子的母亲也不难看出她对丈夫还是有一些感情的（否则不至于2孩子） 　　其次：妈妈临走前回头对丈夫说她为了挽救孩子不得不这样做！

我们该怎么去理解这句话呢。

我们要从影片结尾西尔莎唱歌说起，西尔莎的歌曲实际上并非我们理解的精灵复活，相反是精灵们都消失，这个消失是指在人类世界里消失，回到神话国度里。

这也解释了妈妈为啥流着泪告别，她别无选择，必须从此消失。

那么这就引出了下面一个问题。

　　 　　为什么妈妈不能唱歌必须西尔莎唱？

　　其实妈妈唱歌是可以的，前面一个问题说了妈妈为了生下西尔莎把她留在人间，如果妈妈唱歌可以说就没有故事了，开头就可以结束了，一唱歌所有精灵都消失包括妈妈自己，所以她还是眷恋人间生活的，因此她没有唱歌，换句话说她想逃避自己承担的责任留在人间和丈夫孩子一起生活。

但是西尔莎的诞生她知道这种生活要结束了，不唱歌会死掉的，这一点在影片结尾有交代，当ben找到白色外衣的时候，西尔莎还是没有好转，直到西尔莎唱歌才恢复健康，可以由此判定，不仅仅需要外衣，还要唱歌，唱歌是海豹女的使命，唱完歌所有精灵消失在人间...... 　　 　　为什么白色外衣被锁在箱子里被爸爸扔掉？

　　因为父亲是知道自己妻子是海豹女真相的，也就是说他也清楚只有藏起来外衣她才不能回到海里，影片中妈妈一上来就穿着白色外套的，这里表达了这样的含义，丈夫已经相信他们足够相爱，既然相爱就相互信任而不是强行扣住妻子，后面父亲扔掉箱子证明了他知道西尔莎是海豹女早晚要向她妻子那样回归大海，所以影片中他扔箱子的时候对已经失去的妻子说“我不能再失去她，布罗娜” 　　 　　关于影片结尾的理解 　　实际上这是一个黑暗的童话故事，以往童话故事都是大团圆结局，因为童话主要是给孩子的，因此影片比较含蓄，用另一种方式“终结”精灵和神话时代，希望我的解读对大家有帮助，如有不足之处和错误之处欢迎跟帖指正。

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。

白犬、酸模叶子、荨麻刺、海螺、圣井，《海洋之歌》里几乎是童年一切美好幻想的缩影，音乐触动最深切的童心。

倒不是那么喜欢导演的前作《凯尔经的秘密》，故事依旧短板，但是有足够打动的细节。

想起拉脱维亚那部《口袋里的小石头》，家族故事呈现得如此空灵美妙，又不甜腻。

传统手绘爱尔兰民风，情感至上。

影片贯彻着一种天真孩童的纯真视角。

二维手绘风格中包含了传统艺术和现代艺术，交融着独特想象的部分如同绘画，节奏明快如同阿拉伯美术中图案的线条节奏。

以工整完美的动画形式呈现出个人的成长、家族的秘密，还有时代的变迁。

人和精灵的情感故事虽然是一桩悲剧，但是这种娓娓道来的清淡风格让全片笼罩上一层温暖的滋味，伴随爱尔兰手风琴配乐，那奇妙的构思和浓郁的色彩，是如此迷人。

作为一部贯穿儿童成长经历的电影，它丝毫没有显露低幼平庸的短脚。

导演留下他童年记忆、家族温情和文化认同的故乡印象。

画面中两个孩子在探险的过程中，经历城乡辗转，没有一贯的丑恶对比，老巫婆的凶恶背后也引出一个辛酸的爱子传说。

导演特意隐去泪化大海的男人石化前的原因，因为这会拖累整部片子的节奏，让观众在意犹未尽的爱尔兰民间故事的温化中继续探索想象。

兄妹情感的升华在最后家人团聚的结尾中圆满。

超现实场景自由运用，传统与想象技巧相得益彰。

谁曾说动画片演职员表往往是最长的，因为制作相当艰难。

《海洋之歌》逐帧二维手绘，每帧要用软件制作15幅绘画，总共耗时七年。

《口袋里的小石头》运用停格和传统工艺，一笔一笔全是手工绘制。

美国纽约独立动画人西格妮·巴马尼，采访中说出她为自己的独立动画电影《口袋里的小石头》奔走的心得和体会：影片首映的时候也是我最艰难的一年。

从2013年7月开始直到2014年的一整年都艰难。

我的作品多次被拒绝，令我很悲观失望，其中包括克里斯·罗宾森（Chris Robinson）——他没有将我的电影推荐到渥太华动画电影节参选。

我发邮件问他为什么，他说：“这部电影根本不能看，我看不下去。

”是的，我的电影很烂，这真的让我倍感挫败。

我本以为他是我的朋友，会愿意花88分钟来看完这部电影的。

　　　　电影在拉脱维亚公映的第一周，人们通过网络告诉我他们喜欢这部电影以及这部电影给予了他们什么样的触动，因为我所讲述的就是他们家庭的故事。

但是还是有人无法忍受电影的旁白。

有人说“旁白快把我逼疯了”，好吧。

　　　　 面对一部亲力亲为的动画作品，如此艰难心路与简单粗暴的评价。

然而《海洋之歌》口碑如此之好，排片又如此之少。

在圈钱流产线作品盛行的当下，它才是最值得踏进影院享受的美好电影，在此你仿佛会找到未曾失去的童年。

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（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）

画风、配乐无疑是很美的，但是逻辑上被人所批判的地方也可以得到解释，以下是自己的几点看法：1.虽然爱尔兰神话故事中有类似牛郎织女（藏起仙女衣服，仙女被迫嫁给藏衣人，找到衣服后仙女便离去）的故事，但布罗娜和康纳是自由恋爱，一位海豹女和一个普通的人类男人相爱了。

由影片开头可以看出，布罗娜是穿着海豹衣并陪在康纳身边的，说明康纳并没有藏起她的衣服。

如果按照神话故事的设定来说，拿到自己衣服的海豹女会第一时间离去，而电影里的布罗娜并没有。

2.海豹女有一个使命，要穿上自己的外套，唱歌送精灵回家，不然会虚弱（头发变白），继而死去。

海豹女在陆地上不穿衣不唱歌只能在陆地上活一段时间，至于这“一段时间”是多久，看天意。

3.布罗娜的“一段时间”刚好时间到了，头发变白是预兆，但是她碰巧怀孕了。

如果她穿上衣服唱歌，那么她能自救，而这么做她必须离开人类世界，未出生的西尔莎因为是海豹女也必须随她一起离开人类世界。

但她不想离开人类世界，更不想西尔莎离开康纳和本，但她已经非常虚弱，生下西尔莎，那么她就会死去（难产）。

希罗娜选择了后者，留下了西尔莎。

于是在离去之前，她不停地向康纳道歉，不停地和康纳说“救孩子”。

4.在生本的时候，希罗娜的这“一段时间”时间未终结，所以希罗娜不会虚弱，并继续养育本。

5.康纳在失去希罗娜后，精神一蹶不振，忽略了对孩子的关爱。

康纳不理解希罗娜的离去，认为那件外套是希罗娜离开的原因。

于是便把西尔莎的外套上了锁（绑住西尔莎，不想失去西尔莎）。

发现西尔莎拿出外套来穿的时候，更加害怕西尔莎离开，把外套扔进海里。

6.哥哥本认为是西尔莎的到来带走了母亲，于是讨厌西尔莎。

但他实际上是爱着妹妹西尔莎的。

7.从小没有父亲足够的关爱，以及来自哥哥的讨厌，让她有些许自闭，不愿开口讲话。

8.穿上外套就能开口讲话，是因为，第一：外套有神力，第二：穿上外套的那时候是救赎之时，西尔莎释怀了自然能开口讲话。

7.这个使命每一代海豹女都要执行一次。

由于希罗娜是纯精灵血统推断出西尔莎的外婆执行了一次。

希罗娜从精灵世界来到人类世界，爱上了康纳，想陪伴康纳，选择不执行，或者等迫不得已再执行，然而怀了西尔莎，选择留下西尔莎在人类世界，不执行（为了儿女情长，抛了自己的使命）。

西尔莎执行了自己的使命，本应离去，但因为有人类血统，毁掉外套，可以变成纯人类留在人类世界。

8.每年都有调皮的精灵来人类世界玩耍，忘了回家的路，所以需要一代又一代的海豹女唤他们回家。

9.西尔莎跳井是海豹属性的本能反应。

由神话故事改编的电影，剧情上应该要结合神话故事的原型来理解。

至于剧情上的问题，也许神话故事也就是这样。

要细考究，很多神话都经不起逻辑上的细推敲。

电影进行再创作，可以把故事讲得更完好些。

差点漏掉这样一部美到极致的作品，惊人的美总能让人动容，由于题材和诸多表现手段的相似，观看《海洋之歌》的时候我不住的联想起去年的日本动画作品《辉夜姬物语》，同样是民间传说类的故事，同样是每一帧都是艺术品的精致手绘作品，同样是关于寻找和离别的凄美故事，东西方对于美的诠释最终殊途同归，片尾离别之凄凄与歌声之切切一下便能击穿身处不同文化圈的人类内心，从最原始古老的情感出发，关照现代人的内心，这源于乡愁共同的美不禁让我怀疑，巴别塔真的存在吗！？

《海洋之歌》与《辉夜姬物语》有好几个共同的文化核心，最为醒目的便是两者内涵之间都具有的“乡愁”气质，《海洋之歌》的乡愁在大海，而《辉夜姬物语》的乡愁在山林里，东西方文明内心乡愁的不同归属源于地缘。

《海洋之歌》具有明显的反工业化的色彩，影片中的两位小主人公从海边来到灰暗的大城市以后，心里却一直牵挂海中的小岛，整个故事均围绕两个小主人公历经千难万险回到海岛为主线，这种对海洋的向往也是对自由的回归，而相比之下，《辉夜姬物语》流露的更多是反世俗的气质，影片中的辉夜姬也是从小在山林长大，却最终被迫里来到了日本的京都，但是心里却一直牵挂着从小长大的山林，即使到了最后的日子，神志和身体也要涉水千山回到那片最初生长的山林里，这对山林的向往带有传统东方人骨子里的 “归隐”气质，告别俗世皈依南山，这是东方人千百年来对内心自由的追求。

更巧合的是两部电影中的主人公均不是以常人的身份出现，《辉夜姬物语》中的辉夜姬是长在竹子里的仙子，而《海洋之歌》中的海豹仙则是海洋里的仙子，她们生长的地方便是他们乡愁的所在，东方文化圈（这里的所有东方特指中华文化圈）大抵是内陆气质的，而西方则偏向海洋，陆地的有限和海洋的广袤也决定了两种文化对于自由的不同解读，神总是要离去的，辉夜姬不能选择不，只能在超度中忘却俗世而离去，但是海豹仙可以选择留下，东西方文化对于神话传说中个人意志作用的不同表达也可以让人感触到文化气质之间的显著差异，但是这种差异是建立在美学之上，而美学这门语言，是全人类共通的。

但是为什么需要借助神话来传达现世的隐喻呢？

神话终究还是具有社会性质的，但是它身上原始性的力量无疑会放大其艺术性，而在神话之中，不论是辽阔汹涌的海洋，还是充满生机的山林，原始力量里展现的那种生命力，是亘古不灭的。

此外两部电影都有关于寻找，辉夜姬在周围世俗的桎梏下，希望在大自然中寻找心灵的宁静，这是内向的自由追求，而《海洋之歌》中的寻找自由则显得更加的浓烈和热切，他们解放的不仅仅是自己，更包含了对民族传统文化和自然的解救，两者一内敛，一奔放的气质一对比，便足以让人感受到东西方文化之间不同的魅力，这些显见的不同气质并不是分裂，她们的指向是一致的，所承载的东西都是所有民族说不清也道不明的乡愁，而对于自由的追求向往，对自然与古朴的回归，不都是全人类的共同的寄托么。

《海洋之歌》的绘画继承了欧洲动画作品的精髓，脱离了工业流水线动画，手绘的朴素显然是更接近电影自身的态度，而欧洲动画不拘一格天马行空的气质让每一帧画面都可以独立成为精致的美术作品，这些精美的手绘图像时时刻刻提醒我们，这不是一部流水线上的商品，它是手工的艺术品，是不可复制的，在对海洋的向往与崇敬中，影片最终选择了回归这个母话题，结合传统神话进行诠释，影片自身浓浓的民族自我认同感依旧可以突破地域和语言的限制，让人感受到全世界人对于美理解的高度一致。

再说日本的辉夜姬物语，自然也是纯手绘的动画作品，与欧洲动画作品图像里浓烈鲜艳的色彩、精致的内容相比起来，东方美学的古朴气质会更显得恬淡一些，大量的留白和古朴的线条也依旧可以让人感受到那种绘画构图的精细和倾注。

两者对于绘画的不同手法最终均是服务于共同的美学主题，两者气质、内涵和表现手段的高度一致让人难以忘怀，说是殊途同归一点也不为过。

不论海浪多汹涌，山林多莽苍，乡愁总是悲切而美丽的，它是巴别塔不存在的证据，它也是我们共同的回归，但是它存在的意义就是为了告诉我们，这一切都很难再回去了。

私人笔记，禁止转载