This research explores the intersection of cultural symbolism and cinematic representation in the 1979 animated film *Nezha Naohai*. The film, produced during the post-Maoist era, offers a unique lens through which to examine the evolving portrayal of Chinese national identity and cultural heritage. The research question centers on how the film utilizes traditional Daoist and Buddhist philosophies and imagery to construct its visual narrative and project a specific vision of Chinese culture. The study is significant because it sheds light on the complex interplay between cultural continuity and adaptation in a period of significant socio-political change in China. The analysis will investigate how the film creatively integrates elements of Daoism and Buddhism, demonstrating their enduring influence on Chinese artistic expression. The integration of these elements is important because it speaks to the broader cultural landscape of China during this era. Furthermore, understanding the film's use of symbolic representation will provide insight into how cinematic techniques can be utilized to communicate complex cultural messages.

Existing scholarship on *Nezha Naohai* often focuses on its narrative structure and its role within the broader context of Chinese animation history. However, less attention has been paid to a detailed semiotic analysis of the film's visual elements and their relationship to traditional Chinese philosophies and religions. Studies on *Fengshen Yanyi*, the source material for the film, provide valuable contextual information about the characters and their associated symbolism. However, these studies often lack a comprehensive examination of the film's specific interpretation and adaptation of those symbols. Previous research has touched upon the patriarchal implications of the Four Dragon Kings and their connection to the Gang of Four, but has not explored the integration of the *Wuxing* theory in their character design within a post-Maoist cultural framework. This study fills this gap by providing a thorough analysis of the film's visual language, drawing upon scholarship in Chinese philosophy, religious studies, and film theory.

This study employs a qualitative methodology, grounded in semiotic analysis, to examine the cultural symbols and visual elements within *Nezha Naohai*. The analysis focuses on key scenes and characters, interpreting their visual representation in light of Daoist and Buddhist philosophies. Specific attention will be given to the depiction of heaven, illustrating the integration of Daoist and Buddhist iconography. The character design of the Four Dragon Kings will be analyzed through the lens of the *Wuxing* theory, examining how the colors, attributes, and actions of these characters align with this system. The analysis will draw upon textual sources, including Daoist classics like the *Daodejing* and *Huainanzi*, as well as scholarly interpretations of Chinese mythology and religion. Detailed visual analysis of selected scenes from the film, including frame-by-frame study where necessary, will be conducted to identify specific symbolic elements and interpret their function within the overall narrative. The imagery will be analyzed to understand its deeper cultural meanings and connotations in relation to the broader Chinese cultural context. Close attention will be paid to the colors, costumes, actions, and settings of various scenes to decipher the cultural and philosophical messages.

The analysis reveals a deliberate integration of Daoist and Buddhist elements in the film's visual design, reflecting a syncretic cultural approach typical of Chinese traditions. The depiction of heaven combines elements of Daoist cosmology, featuring Fuxi and Nüwa as the sun and moon gods, with Buddhist imagery, including Gandharvas. This blend signifies a cultural harmony, representing the integration of both traditions in the Chinese cultural context. The *Qian-Kun* bracelet assigned to Nezha embodies the Daoist principle of balancing yin and yang, symbolizing the harmonious interplay of opposing forces. The Four Dragon Kings, representing the four directions and elements, are directly linked to the *Wuxing* theory, showcasing its application in character design and narrative structure. The film’s use of color and symbolism reinforces this philosophical framework, with each dragon embodying specific elemental characteristics. This reveals a deliberate attempt by the filmmakers to draw upon and popularize elements of Chinese traditional thought and cosmology for a contemporary audience. The film's use of visual language to communicate complex philosophical concepts suggests a thoughtful approach to integrating cultural heritage into a modern cinematic context, suggesting the cultural continuum connecting Daoist mythologies and yin-yang theory to the construction of Chinese national style.

The findings suggest that *Nezha Naohai* is not simply a children's film, but a sophisticated work that uses visual language to communicate complex cultural and philosophical ideas. The film's success in integrating Daoist and Buddhist elements without overt didacticism speaks to the power of visual storytelling in conveying cultural values. The use of traditional philosophical concepts, such as *Wuxing*, demonstrates the enduring relevance of these ideas in contemporary Chinese culture. The study contributes to a deeper understanding of how film can function as a vehicle for cultural transmission and the construction of national identity. The deliberate use of visual elements to reflect philosophical concepts reveals the filmmakers' intention to promote traditional Chinese culture while engaging with contemporary audiences. The study contributes significantly to the field of cultural studies and film analysis by providing a nuanced interpretation of a seminal work of Chinese animation, emphasizing the interplay of art, philosophy, and national identity.

This study demonstrates the intricate ways in which *Nezha Naohai* utilizes cultural semiotics to construct a distinct Chinese national style. By blending Daoist and Buddhist elements, the film creatively communicates complex philosophical concepts through its visual language. Future research could explore the film's reception and its impact on subsequent works of Chinese animation. Further investigation could also analyze the film's role in shaping post-Maoist cultural identity and its influence on contemporary representations of Chinese mythology and culture.

The study primarily focuses on the visual elements of the film. While this provides valuable insights, a more comprehensive analysis would benefit from incorporating textual sources and interviews with filmmakers or those involved in the production to gain a deeper understanding of the creative process and intent. Furthermore, the study is confined to the analysis of a single film, limiting its ability to generalize findings to the broader context of Chinese animation or the representation of Chinese culture in other media. However, it provides a solid basis for future comparative studies exploring similar themes in other films or cultural products.