Which of the following is not an argument made by Macdonald about Nezha Conquers the Dragon King (1979)?

Question

BlackTom AI · Accepted Answer

The task asks us to evaluate which statement does not reflect Macdonald's arguments about Nezha Conquers the Dragon King (1979).
Option 1: 'Macdonald sees the film as advocating for youth-led social transformation through mythological allegory.' This reads as a typical interpretive angle where myth is used as a vehicle for social change, a common rhetorical move in Macdonald's discussions of animation as cultural and political commentary. Therefore, this could plausibly be something Macdonald argued, depending on the political readings they emphasize.
Option 2: 'The film merges traditional Chinese aesthetics with modern animation to create a uniquely national style.' This is a statement about visual style and technique rather than about social messages or narrative meaning. While Macdonald might touch on style, the core of his arguments often centers on thematic readings and social implications rather than a formalist claim about national style. If Macdonald’s analyses in this context focus on content and ideology rather than just aesthetic innovation, this option reads as less likely to be a central argumentative point for him. This makes it a plausible candidate for the 'not an argument' category, though it could still appear in some discussions.
Option 3: 'The film shows a shift toward more complex character development, particularly in its portrayal of Nezha.' Discussing character complexity is a common analytical thread in film criticism, and noting a shift toward deeper character portrayal would fit with readings that emphasize psychological depth and evolving agency in mythic figures. If Macdonald engages with character development as part of their interpretive framework, this could be a supported claim.
Option 4: 'The film reflects unresolved historical trauma through Nezha’s suicide and rebirth, echoing themes from scar literature and art.' Linking the film to broader post-Mao trauma discourses and cross-textual connections to scar literature would be the kind of intertextual, socio-political reading Macdonald might pursue, especially when analyzing how cinema encodes collective memory and historical tension. This aligns with macro-level thematic analyses that situate film within historical consciousness.
In evaluating which option is not an argument Macdonald would make, we weigh the likelihood that Macdonald foregrounds aesthetic form versus explicit social-psychological interpretation. Options 1, 3, and 4 align with interpretive approaches that foreground social, psychological, and historical readings of the film. Option 2 centers on stylistic description (aesthetics and national style) without necessarily tying it to a critical argumentative claim about ideology, memory, or character meaning. Therefore, Option 2 stands out as the statement least likely to be presented as a principal argumentative point by Macdonald in this context, making it the best candidate for the 'not an argument' option.

Note: If there were more context about the specific essay or monograph being analyzed, the justification could be sharpened further by citing particular passages or framing terms Macdonald uses when discussing Nezha Conquers the Dragon King. The above reasoning treats each option in terms of its alignment with typical Macdonaldian argumentative patterns (social-ideological readings, character and narrative interpretation, historical trauma intertexts, and stylistic/ formalist notes).

ASIA_V 355 012 2025W1 CR 4

Which of the following is not an argument made by Macdonald about Nezha Conquers the Dragon King (1979)?

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