【摘要】 孙悟空作为核心角色在《西游记》的跨媒介改编中进行了多次塑造，其动画形象更是以多元的表达出现在受众视野中。《铁扇公主》（1941年）、《大闹天宫》（1961年）《西游记》动画系列片（1999年）和《西游记之大圣归来》（2015年）作为《西游记》在不同时期的改编动画作品，呈现了四个具有代表性的孙悟空动画形象。随着社会的不断变革和发展，孙悟空动画形象也表现出了不同时期的时代表达。对这四部动画所对应时期的时代表征和文化内涵进行探究，分析孙悟空动画形象在四个时期的社会背景、社会语境、文艺政策和受众审美等影响下所表现出的文化表达以及动画中孙悟空视觉形象和外在形象的特点和变化。更多还原

【Abstract】 As a core character, Sun Wukong has been shaped many times in the cross-media adaptations of Journey to the West, and his animated image appears in front of audience with multiple expressions. Princess Iron Fan(1941), The Monkey King(1961), Journey to the West animation series(1999) and Monkey King: Hero Is Back(2015) as animated adaptations of Journey to the West in different periods, presents four representative animated images of Sun Wukong. With the continuous changes and development of society, the animated images of Sun Wukong also shows temporal expressions of different eras. This paper explores the era representation and cultural connotation of the corresponding periods of these four animations, and analyzes the cultural expression of Sun Wukong’s animated images under the influence of social background, social context, literary and artistic policy and audience aesthetics in the four periods, as well as the characteristics and changes of Sun Wukong’s visual images and external images in the animation.更多还原