海洋之歌

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！

《海洋之歌》是爱尔兰导演汤姆摩尔的第二部动画长片，改编自爱尔兰的民间传说——本和西尔莎是兄妹，母亲布罗娜在西尔莎出生时投入大海，他们俩和父亲住在海岬的灯塔里相依为命。

本渐渐发现，母亲的遗物有着奇异的魔力，而令人讨厌的小妹妹身上有着神秘的力量，可以唤醒精灵……这部动画片获得了今年奥斯卡提名，最终不敌《超能陆战队》。

我不喜欢后者，虽然有大白这种讨喜的角色，却依然摆脱不了迪斯尼一贯的陈腐套路。

如果做个比较，《海洋之歌》是文学是诗，而《超能陆战队》只算说得过去的网络小说。

《海洋之歌》是手绘动画，每一帧画面都包含了绚丽和纯真的特质，每一个音符都同时歌唱着欢乐和忧伤。

观影过程令人迷醉，我唯一能想到的一个词是：不可方物。

过后想想，这个词确实适合用来形容这部动画片。

“不可方物”被引申为（美好的）程度不可用天下万物来比方，出自两千多年前的《国语•楚语下》：“及少皞之衰也，九黎乱德，民神杂糅，不可方物。

”“方物”指分辨事物的名实或名分。

在我们民族的古老传说中，上古有一个时期，人和神是住在一起的，无法分别谁是人谁是神。

《后汉书•张衡传》亦有“人神杂扰，不可方物”。

而在爱尔兰，这块古凯尔特人居住地，民间传说和神话故事也是与历史杂糅交错，密不可分的。

比如被列为联合国教科文组织世界遗址的巨人堤，从安特立姆高原的悬崖一直延伸入海，传说中是巨人芬恩•麦克库尔的杰作，为的是能到达苏格兰去和住在那边的巨人一决高下。

影片中本和西尔莎与父亲一起居住的灯塔海岬，就是在悲伤中化成岩石的巨人。

叶芝、贝克特、王尔德、乔伊斯这些爱尔兰的大师们，无一不受惠于这种文化的滋养。

十九世纪末，叶芝在爱尔兰西北沿海漫游采风，以诗人的文字整理记录了一部爱尔兰神话传说集——《凯尔特的薄暮》。

书中内容包罗万象，精灵、鬼怪、神仙、幽默故事和乡野传说层出不穷，勾勒出一幅现实与神灵交融的世界。

“这一切都存在，都是真的，人间，只是我们脚下的一片尘土而已。

”《海洋之歌》这部动画片就仿佛是从远古的爱尔兰，从《凯尔特的薄暮》这本书中走出来的，“我们是有缺陷的，不完美的……完美无暇、尽善尽美的‘世界’仍旧存在，……仙人们和精灵中更纯洁的那些就住在那里……用小提琴柔情的泣声、哀悼我们陨落的世界。

……他们注定要继续悲歌，我们则注定要继续哭泣，直到永恒之门幽幽敞开”。

我想，喜欢《海洋之歌》的人，都能从中接收到来自一个更久远的世界的密码，激活被红尘湮没已久的童稚灵魂。

叶芝在《凯尔特的薄暮》再版自序中说，“奈何一个人随着年龄增长，梦想便不复轻盈；他开始用双手掂量生活，更看中果实而非花朵——或许这并非什么重大损失。

”或许。

有一天我们都变成了石头，然后在古老的歌谣中复活，回家。

但有些人就永远是石头，再也回不了家。

　　随时间而来的智慧 　　虽然枝条很多 　　根却只有一个 　　穿过我青春的所有说谎的日子 　　我在阳光下抖落我的枝叶和花朵 　　现在我可以枯萎而进入真理（叶芝）——————————————————————————微信公号：别离以前（bieliyiqian）

《海洋之歌》我给了五分，《大鱼海棠》的分远低于此；我还记得看完《大鱼海棠》后在朋友圈嘲讽说它“简直像屎”的情景。

两部电影有很多相似的地方，包括长处和短处，似乎互有对应。

但给的分数悬殊，细究下去也讲不明。

都是动画片，都有海，都有“神”，都在画面上获得普遍赞誉……它们特征相似，长处相似，短处也相似。

首先是情节上。

《大鱼海棠》的故事讲得极其糟糕，硬是把女主角活生生地塑造成圣母婊，故事里没有反派，主角和群众演员一起瞎闹，恍恍惚惚就把故事说过去了。

《海洋之歌》也有情节上的不足，譬如没有高潮、反派是“伪任”的，前面的铺垫和悬念经过猫头鹰女巫悔过一幕以后演变成冗长和累赘。

情节上的欠缺，使人不能过瘾。

然后是对奇幻世界的构造上。

《海洋之歌》和《大鱼海棠》中的奇幻世界，都宏大，本能容下许许多多细节和张力，另一方面，其中的交代却略显空洞。

《大鱼海棠》中的“平凡界”，借用了多数中国传统神话故事、文学作品和中国特色建筑等的元素，堆积得热热闹闹，联系性却做得很弱，是仅仅为了电影而生拉硬扯的布景。

（例子我也想举，但实在对电影没什么印象了，倒是看完电影的那几个晚上，想过这个问题，由此有此观感。

）如果能把那个世界构筑得稳固，成一系统，相信会对故事大有裨益，甚至拍续集都没问题。

《海洋之歌》里面呢，是人间和精灵界都有。

巨人为什么悲伤欲绝呢，猫头鹰女巫有什么来头，诸多精灵有各自管理的领域吗，Bronach既然是精灵怎么和人类结婚了呢，孩子都生了她仍然要离开究竟为什么……很多关于精灵界的疑问都没有回答。

但是，这个问题找到一个“可信解释”：《海洋之歌》根据爱尔兰民间传说改编而成，爱尔兰人或许不需要这些交代便能找到共鸣，就像我们不需要很多交代也能看懂《大圣归来》一样。

个人对《海洋之歌》的画风更为喜爱，也认为在精致程度上《海洋之歌》更胜一筹。

另加一句，通过剥夺情绪来“帮助”人，是一个不错的命题，与《黑客帝国》里面探讨的东西同样可以深刻。

差点就错过奥斯卡提名的动画片《海洋之歌》，这部电影制作很久，发行方不是大公司，国内没有什么有力的宣传，完全淹没在同期电影中，排片少得可怜，加上很多人可能早看过英文版的盗版。

真是可惜。

《海洋之歌》开场几分钟，第一排的熊孩子，就一直闹啊闹啊“不好看，不好看，我要回家。

我要回家～”我内心的火苗腾腾腾地烧，一度要冲到前排制止他。

纠结一番，忍住了！

渐渐地，周围安静下来，悲伤、惊喜、危险袭来，音乐响起，那个孩子完全进入了角色，脱口而出的感叹、惊呼、哼唱，像是B站助攻的弹幕，像是天使的羽毛，说不出的温馨，我的整颗心就像绿缎子似的柔滑。

电影散场，孩子不肯离开，合着尾幕音乐起舞，跳啊跳啊，那浑身啊，都是闪亮闪亮的旋律。

2016年的暑期档，质量低得让人绝望。

在国产动画动不动就宣称自己“十年磨一剑”、“国产动画的良心”的时候，有一部两年前就在国外上映过的动画片，悄悄被引进了国内，给了那些精致的无脑片一记漂亮的耳光。

它就是《海洋之歌》<图片1>这部电影被提名了第87届奥斯卡最佳动画长片、获得了去年的上海电影节金爵奖最佳动画片

《海洋之歌》的故事不复杂，估计也有很多人已经知道。

它取材于欧洲神话，讲述了两个孩子的冒险传奇。

小男孩Ben和他的父亲、妹妹生活在一个小岛上，他的妈妈在生妹妹Saoirse的时候离开了他们，所以Ben对Saoirse充满了怨气，他不喜欢这个妹妹。

<图片3>他们的父亲因为妻子的离开，一直沉浸在悲伤中。

他们的奶奶想把孩子们带到陆地上生活。

可是孩子们不喜欢陆地上的生活，这个时候，Ben发现她的妈妈是传说中的海豹女，Saoirse继承了母亲的血统，如果不回到小岛，找到传说中的海豹精灵的衣服，Saoirse就会死。

于是Ben想尽办法要带着Saoirse回到海岛，在回去的路上，他发现，所有那些妈妈曾经讲过的神话：精灵、猫头鹰女巫、变成石头的巨人都是真的！

最后Saoirse穿上了海豹衣，拯救了所有的精灵，Saoirse在成为海豹女和失去灵力之间，选择了留在父亲的身边，一家人幸福地生活在了一起。

<图片8>这部电影的有两条故事线，一条是现实生活中，Ben和Saoirse的爸爸沉浸在妻子离去的悲伤中，奶奶尽力想让这一家人过上正常的生活。

另一条是童话故事中，猫头鹰女巫为了让她失去爱人的儿子不要悲伤，而吸走了他的情绪，把他变成了石头。

两组人物的形象非常一致<图片11><图片12><图片13><图片14>再结合人的灵魂会变成海豹的爱尔兰传说。

也许故事其实站在了Ben的视角：<图片15>Ben的母亲因为难产离世了，留下了患有自闭症的妹妹Saoirse和被悲伤压得透不过气的父亲。

Ben和Saoirse被奶奶接到了陆地上的城市，可他们都很不适应，Ben要带着Saoirse逃回海岛。

<图片16>一路上他们经过了草地、海洋，Ben想起了他的妈妈给他讲的所有童话，我们小的时候，也都会以为故事里都是真的。

<图片17><图片18><图片19>Saoirse不会说话，但能唱歌，这样的设定也符合自闭症孩子的特征<图片20>海豹精灵歌唱的时候，所有的精灵都回到了灵界，Ben再也看不到童话中的人物，也就意味着在Ben的成长。

这样看来，这个关于成长的故事，又悲伤又美好。

<图片21><图片22><图片23>导演汤姆·摩尔的创作灵感来自很多年前他带着10岁的儿子去海边玩，看到了很多渔民为了谋生，杀死了大批海豹。

有人告诉他，这样的事情以前不会发生，因为渔民们曾经相信，海豹是死去的人的灵魂，就是selkie，就是海豹女。

<图片24>之后他带领着他的团队，历时七年一帧一帧手绘完成了这部动画，等这部电影上映的时候，他的儿子已经十七岁了。

实打实的七年时间，汤姆·摩尔以他独特的风格，用几何图形和抽象的线条构建了一个美轮美奂的童话世界，每一个画面都精致地堪称艺术品。

<图片25><图片26>汤姆·摩尔的成功其实源于他对自己文化的自信，他的上一部《凯尔经的秘密》也是取材于爱尔兰的民族传说，同样也得到了奥斯卡的提名<图片27><图片28>我们近几年大热的国产动画，如《大鱼海棠》，虽然表面看上去讲的是一个中国的故事，可是骨子里还是好莱坞商业电影的内核，画面也还处于尽量在写实的基础上适当拓展，保证动作的流畅的程度。

我们真正文化的魅力，在何处？

《海洋之歌》上映11天，累计票房只有1477万，虽然网上的资源已经铺天盖地但是，有的电影一辈子一定要在大银幕上看一遍，《海洋之歌》就是如此。

它没有《大鱼海棠》的三角恋、绿茶婊没有《汽车人总动员》的无耻抄袭没有《摇滚藏獒》的国产外衣下的美国心可它把爱尔兰的民间传说带到了世人面前，并得到了赞誉。

单凭这点，《海洋之歌》就值得我们尊敬。

也许好的作品本该拥有多面的解读。

《海洋之歌》或许是一个寻找与回归的故事，而我想，这也是一个关于逃避与面对的寓言。

失去妻子的父亲一蹶不振，忽视孩子，隐藏情感。

失去母亲的儿子，将怨恨发泄在无辜的妹妹身上，即使他曾经承诺要做最好的哥哥。

从出生就离开母亲的女儿，无法发出声音。

传说中的巨人因失去而日日痛哭，泪水汇聚成海洋，巫婆母亲为缓解儿子的伤痛，将其感情放人瓶中封印，失去感情的儿子化为岩石，得到永恒的平静。

此后，这成为巫婆的使命，将别人的感情取走，放入瓶中。

【I take away the pain, 我替别人化解他们的痛苦It doesn’t hurt, it will never hurt again. 这不会伤害你，而且一劳永逸】瓶中封印的情感，有雷电，有云朵，有雨雪，有彩虹，有太阳。

它们是那些我们避之不及的软肋，那些潸然泪下的温情。

失去这一切，于是就变成了石头。

为了儿子不再痛苦而将儿子化为石头的母亲，同时也被无法承受的失子之痛折磨。

巫婆有一半身体已经成为了石头，因为每一次感到情感的流动，巫婆也需要用魔瓶来吸走那些痛苦的感情。

【Now see what I’ve become of those terrible feelings. 我之所以变成这样就是因为这些该死的感觉I’m sick of feelings that come bubbling up. 我讨厌那汩汩涌现的种种感觉】如同饮鸩止渴一般。

故事中的每一个，都是被痛苦击碎的人。

每一个被击中软肋的人，都挣扎在逃避和面对之间。

没有了感情，麻木，才会得到永远的平静。

然而，失去感情的麻木，不过也就变成了石头而已。

就像被巫婆取走感情的精灵，化为石头。

小海豹女的海螺声使瓶子破碎，于是每一丝清风，每一朵白云，每一次雨雪或雷电，每一个太阳及彩虹，通通融入身体里。

于是有了情绪，有了痛苦，也有了感知美好的能力。

有人说，爱就是突然有了软肋，同时又有了盔甲。

于是我们才成为了完整的人。

精灵得以回归，这也意味着，两个孩子的母亲也必须离开。

小海豹女选择留下，母亲要带走她的外套，从此两边的世界切断联系。

童话和现实世界的联系。

伤心的儿子祈求母亲不要离开。

母亲对他说：【My son, 我的儿子Remember me, in your stories, and in your songs. 我在你的故事里和你的歌声里长存Know that I will always love you. 要记得我一直非常爱你Always. 我会永远爱你】母亲离开了。

父亲从失去的阴影中走出来，哥哥从失去中释怀，妹妹从失去中解脱。

要跨过去，才能继续走。

如果有一天，我能平静的回忆起你的死亡，不是因为我不再爱你，而是因为我们已经融为一体，我的呼吸就是你的呼吸。

从此，我永远与你相伴，不再分离。

（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）

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

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。

当我喜欢一部电影时，我总发誓给它最好的影评。

《海洋之歌》算不上我最中意的电影，我也给不了它最好的影评。

但它在某些瞬间打动了我，这种忽隐忽现的感动促使我写这篇影评，这些瞬间是关于真实人生的艰苦和难熬的，主要体现在了两个配角身上，也是这部电影“反派”：女巫玛查与她的儿子麦克·利尔。

　　 　　写光明童话的影评总是这样艰难，我无法确信光明真的存在，在人生大部分的时空里，我们主要做的就是对抗黑暗：世界给予的黑暗、考验与内心的脆弱和失衡。

黑暗是我们真实的处境，是我们真正所处的时空。

《海洋之歌》是一部表面看起来光明简单的童话，关于一群濒危灭绝的精灵，关于它们逐渐被控制和被城市化吞噬的生活；但在光芒与诗意的表面，我依然捕捉到这部电影那一丝黑暗与凉意，人的垂死挣扎和对命运的无力反抗，玛查与她儿子的绝望——就是这一丝微妙的黑暗对整部电影进行了非凡的折射与对比，使这部动画电影变得并非表面那么简单，它反射出了这个故事本身所具备的多角度的生活哲思和光怪陆离的人生作为。

　　 　　它不仅仅讲述一个靠一首歌和一件外套就能战胜世界的童话，也不仅仅局限于孩童天马行空的白日梦，它指向了我们生活中那些不可避免的痛苦与挫折，我们该如何与这些重要情绪与经历相处，相处方法本身成为了一种哲学和智慧，也成为一种缺少选择的选择。

　　 　　我前几天做了一个梦，人们围着一个海而坐。

其中一对父母失去了他们惟一的孩子，他们悲痛万分，跳进了海里，不停地哭泣，不停地游着，慢慢我看见他们的手变成了鱼鳍，他们不得不适应冰凉的海水，化成了悲痛而沉默的鱼。

这是他们无法承担的命运，在巨大的挫折下他们只能畸变为麻木的鱼类，抛弃了人类的记忆与情感，只懂顺着酷冷的河流向前游。

围观的人只能围观——我们任何人都无法把别人拯救出他们自己的命运，这是个基本常识。

后来一条鲨鱼游了过来，轻易就将他们吞噬了。

一段悲剧，一个家庭就这样覆灭了。

　　 　　梦醒时我震撼了很久，震撼于命运无法假于他手，震撼于人生确有伤痛与重挫令人无法承受。

强势的生活随时都可能更改生死，将我们从精明的人变成盲目的兽类。

这个梦和潜意识清醒地指出了生活与人格的脆弱性与局限性。

梦是暗的夜，它拥有着那些我们不愿意醒来的真相，浮沉着我们无法超越的生死界，而就是这些，恰恰与《海洋之歌》在某些截面上贴合。

　　 　　女巫玛查的选择 　　 　　巨人麦克利尔失去了他非常重要的一个人，他悲痛万分，日夜哭泣，泪水汇成了黑色的海洋。

爱人的失去犹如被推倒的多米诺骨牌，它引发了一个家族的沦陷与枯萎。

他的母亲女巫玛查（有没有人发现玛查各方面都跟宫崎骏《千与千寻》里的汤婆婆很像？

导演自称也是宫老的粉丝）心如刀绞，却无法拯救他于这悲痛，她于是用魔法吸取了他的悲伤和哭泣，把他变成了一尊巨大暗沉的石像。

石像是没有情感的，因此就没有了悲伤，这样麦克就不会再伤害自己了，他可以日夜麻木地这样站着海水里，不再哭泣也不再发声，风吹日晒，直到生命被悄然耗尽。

女巫玛查法力无边，但她也无法替代儿子的命运，惟有攫取他的感情来阻止他悲痛。

这是一种对生活过分和过度的控制和操纵，没有人能彻底控制得了生活和命运，玛查却在努力做到这一点，过度的控制令人麻木僵死、成为石头，这本身就是对控制的无声反抗与讽刺。

“我实在受不了看见他那么悲痛，我做这些都是为了他好”，玛查对随后而来的本和布罗娜兄妹说。

在跟本的对话中，玛查解释了她试图对抗命运和生活的这一套方法：“悲伤、愤怒、暴躁、忧虑、消极都是无用的感觉，没人需要它们，它们只会对你的身心不利，我知道怎么做才是对你最好的，我可以运用魔法把它们从你体内吸走，这样你就不会感到不开心，你就只会开心。

” 　　 　　魔法把人逐渐变得麻木，他们在放弃基本情感的同时也被慢慢石化，最后成为像巨人麦克那样的僵石，不论时间流转，不问爱恨情仇。

人为了压制和消灭极端负面的情绪而放弃感情，变得麻木和健忘，等同于自我麻醉和自杀，他们失去了活力和反应。

玛查就是运用这种办法来对抗生命中出现的那些重大挫折。

当她愤怒时，她就赶紧使用魔法瓶子吸取自己的愤怒（很像吸毒），之后她会感觉好一点了，忘记刚才发生的不开心的事，但也因此被石化。

在本遇见她时，她自己的下半身已经成为石头，成为没有任何感觉的半僵尸。

　　 　　这就是这部童话重要的哲思与惊悚之处：你试图对抗命运，试图化解无法化解的悲伤，就只能以失去知觉（类似断肢）的方式去舍弃这一部分情感，而这种舍弃本身就等同自残自毁，你渐渐失去一切感知，变得麻木、机械、沉默。

一个失去感知的人如同行尸走肉，有何意义？

悲伤、失去、愤怒这些是生活不可切割的一部分；血肉之躯会哭会笑，本就如此；生活有喜悦，也会有无法化解的悲哀，这是它的本质；你试图割掉它们，也将割去自己的一部分血肉，丧失一部分的生活触觉。

情绪与感知会伤害我们，但它们也会安慰我们，它们是我们生活的记忆和意义。

人终究会老会死，缘分终散终灭，痛苦是生活的关键答案，也是我们重要的经历，它成为你的力量也成为你的黑洞，无论以哪种形式存在于你的体内，你都必须跟它同来同去共生死。

　　 　　你无法拥有完美无缺的人生 　　 　　玛查没有更好的办法对应付儿子铺天盖地的伤痛，她也没有更好的办法拯救自己，她只能摸索这一套“石化”的方式来躲避痛苦，缓解当下的处境。

面对无常又无法改善的命运，她惟有用这种麻醉的方式来延缓它的崩盘。

与之相同的是，本和布罗娜也失去了母亲，母亲的消失和离去构成了他们生活刺眼的缺口、他们父亲消极和痛苦的根源，他们必须要学会跟这伤口相处，必须接受这致命的缺陷。

童话让海豹精灵布罗娜穿起了精灵外套，开始唱歌，这神灵的歌曲终于拯救了被石化的众人，领导精灵们和玛查母子获得解放。

幻界令主人公释怀，与往事和解，结局皆大欢喜。

　　 　　其实，再厚的外套也无法抵御人间的寒冷；一曲歌谣也无法拯救世界。

活在真相里的人们只有接受真相，才能另辟生活的出路。

　　 　　“真相不恒久，承诺已老朽”是这首海洋歌谣里的两句，“The truths will never bear ; The promises of old”，这是这部电影中惟一出现歌词的几句，在我看来这两句才是解决的方法。

当认知到世界无时无刻不在变化，人无法去追求恒定的真相与事实；不要执着于求索一劳永逸、适用千古的答案。

人会变，关系也在变，没有永驻的承诺，也没有不变的缘分。

眼前所见、现在拥有；将来不会见，未来也不会再有。

我们的生活不会永生永固、无法完美无缺，人只有接受，才能与生活和命运和解（其实这些都是宗教中典型的思维，世界三大宗教都承认命运的无常，它指导人们第一是接受（忍耐）；第二是放下（解脱），来试图解决生活中那些已经无法解决的问题。

汤姆摩尔的动画系列充满着宗教式的生活观与世界观，他还会在背景中画上很多基督教和天主教的偶像。

宗教气质与思维方式是汤姆摩尔动画值得注意的一个特点）。

　　 　　《海洋之歌》的导演汤姆摩尔也指导了精致绝伦的《凯尔经的秘密》，但《海洋之歌》却显得深沉和诗意了许多（虽然它的节奏略显漫长和迟缓），它在过硬的手绘画风和惊艳无比的构图和配色下，蕴含了深层次的生活哲学；在华丽工整，严密对称的几何绘画下（严谨讲究的构图，有镜头感的画面切割比例，绚丽色彩的配染、使用线条来完成和支持画面、表达层次感等特点也同样在《凯尔经的秘密》里可见），具备深刻的故事内核；不仅有着阳光的表层，也有它黑暗的边缘，有它痛苦难耐的故事情节；正是这黑暗和真相的镶嵌，才令它与众不同、富有质感，在童话之上更上一层楼，对现实人生和成人世界都有敏感的喻指和深刻思考，承认了人的局限性，也蕴含宗教哲学（这与《凯尔经的秘密》一脉相承）和教育意义。

就是因为有局限性，所以人要学会放弃一些执着；教会孩子们不仅要靠幻想缓解生活的挫折，也不要一味躲避痛苦，心胸狭窄者一生痛苦，宽容他人和自我的境遇，才能获得真正意义上的生命和自由。

　　 　　每一个动画导演都在影像中寻找着自己的出路，要拯救自己的主人公，也要建立童话的逻辑感。

像宫和汤姆这样制作面向不同年龄层动画的人，童话也必须首先承认现实生活，才能引导成年观众进入，获得广泛的肯定。

宫崎骏后期的动画趋于迷茫与幻灭（尤见《起风了》和《借东西的小人阿丽埃蒂》），他的完美主人公们无法解决具体的人生困境，只能甩手离去；而汤姆摩尔则试图用神学上的很多思辨来化解极端情绪与不幸经历。

宗教是因磨难和困惑而产生。

当人的情感和理性无法安放与接受这些挫折和现实，才诉诸于宗教与信仰的安慰与支撑。

宗教本身是一套高深的哲学，它看得见人的边界，指导人去超越有限的生活。

绝望把人变成顽石，信仰可使人复活，心思一变，绝处逢生。

汤姆摩尔用一首唯美的歌，扭转了心中的恶魔和固执，攻破了坚硬冰冷的石壳，为自己的童话开辟了全新的生机，也给了观众更可信更成熟的希望。

（注：由于豆瓣影评无法插图，该影评的图文版我将在自己的日志里发布，感兴趣的读者可以移步阅读。

署名党阿飞，转载请注明作者名及出处“豆瓣电影”并与作者取得联系，违者必究！

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