Visual significations of Monkey King: Hero is Back and Nezha: Birth of the Demon Child

Visual signs can be differentiated into denotative and connotative messages, where denotative messages form the perceptual foundation of an image, and connotative messages engage with a deeper, culturally cognisant layer, imbued with subjective interpretations and aesthetic significations. This study embarks on a qualitative textual analysis with the main aim to elucidate the connotation and denotation of visual significations in two pivotal Chinese animated films, Monkey King: Hero is Back and Nezha: Birth of the Demon Child. Guided by Roland Barthes’ Semiotic theory and Chen’s study, the research delves into the connotative and denotative meanings embodied in the films’ visual elements. The focus is primarily on facial design, physical appearance, clothing, and props, providing a comparative analysis of how these elements function within each film’s narrative framework. The key findings reveal that the visual significations in both films are not merely aesthetic choices but serve as substantial cultural and narrative tools. The characters’ faces, physical appearances, clothing, and props are intricately tied to themes like Chinese opera masks, subversive reconstructions, natural elements, and intangible cultural heritage. These visual cues play a crucial role in reinforcing cultural heritage, spurring innovation, invoking nature reverence, and bolstering national sentiment within film storytelling. Contrasting with previous research that predominantly focused on characters, this study expands the analytical scope to include props, recognising their significance as visual signs in animation. By expanding the analysis to include props alongside characters and visual elements into the analysis, this research offers a more comprehensive and nuanced understanding of Chinese mythological animations. It enriches the academic discourse on animation studies, demonstrating how visual elements can profoundly influence narrative interpretation and cultural representation. The research affirms the cultural and narrative potency of visual signification in animation and underscores the dynamic interplay between tradition and innovation within the realm of Chinese animated films.