In 1990, why was the Chinese animation as much as a national football?

2025-01-27 10:36:54|Myriagame |source：minecraft skins

This summer, eight domestic animations are about to be released, and it seems that it can be used as a answer sheet in the 90th year of Chinese animation films.Among them, "Big Fish Begonia" and "Rock Tibetan Mastiff", which were released on July 8, just represents two directions of domestic animation. However, whether it is the former Japanese style or the latter's American style, it is "The trace of ethnic "and" tradition "is not for self -need, but the vent of anxiety that is confirmed.Why do our animation always implies humiliation like the national football, always thinking about rushing out of the world with suffering? Today, if traditional culture becomes fragments, if you want to use it, you can only use your thinking and experience as a binder., Fix the history and traditions in your personal heart.

For a long time, Chinese animation has no shortage of technology and no shortage of talents, but either lacks stories or lack of logic.Real animation creation should allow each real entertainment animation to obtain fair income and return, allow every animation of each real innovation experiment to be respected and supported, let each creation be free because of its spontaneity, let every creation reflect on each creation, and reflect on each creation.Find yourself.From this perspective, the golden age of Chinese animation is far from arrival.

The Chinese animation film has gone through ninety years before the "Big Starry Room" in 1926.On July 8, 2016, "Big Fish Begonia" and "Rock Tibetan Mastiff" appeared together.After more than ten years of "Big Fish Begonia" director Liang Xuan and Zhang Chun, they finally completed. The whole film blends many ancient myths and legends and ancient books in the fantasy of Hayao Miyazaki.

In the crowdfunding activities it launched, the main creator said: "This will be a movie with an oriental artistic conception, charm and mystery. We hope it can become the starting point of Chinese animated films to the world."As a screenwriter, all use the production team of American animation blockbusters. "Its core concept comes from the oriental wisdom presented by Zheng Jun, and is positioned as a story that can make the Chinese love and conquer Hollywood."

Regardless of the Japanese style of "Big Fish Begonia" or the American style of "Rock Tibetan", they all have some common ideas to make me curious. This is also the habit of many Chinese animation films: we have the oriental tradition! We have to go to the world to the world!"

From a different perspective, if a Disney animation publicity states that "we have a very American cultural heritage, will we go to the world", is it humorous and absurd? Why does Chinese animation always want to prove the root red seedlings of their own nation? Why do we always suffer?What is he rushing out of the world? What are we proved? It even felt like a Chinese football, silently hiding humiliation.

Animation is a strange species. It mixes art, movies, drama, music, music, performance, material art, and also cross -border art, technology, industrial production, commercial replication, popular culture, brand effects ...... Compared with the production of real images, it is slow and magical.Disney's huge myth, the national effect of Japan, has become the beginning of confusing people on the commercial PPT of each animation company.

In terms of storytelling, business in this era is always more imaginative than creation.With the flooding of the film and television industry in the past two years, the animation finally had cases of storytelling. The animation industry was unaware of it into two genres, and it was temporarily called the US school and the Japanese school.The Mei faction starts from the movie and confirms from the creation: As long as you really learn to tell stories like Hollywood, you can get a good box office and get a high box office.The Japanese faction is the Internet+, and the logic of discussing from users: There are crazy "two -dimensional" crowd enthusiastically to pay for it and developing the Japanese wind -style IP to earn enough fan money.

The subtext here is that our Chinese animation is not short of technology, there is no shortage of talents, either lacks stories or lack of logic.And Chinese people have an inexplicable complex emotion on animation. Anxiety and confidence are intertwined. They lamented why Chinese animation could not surpass the peak of the golden age.If you make something to make animations, it will shock the world.

Maybe we think about the animation, just like the role in the animation: I feel super correct in it, and I found that the magic is extremely magical.If we can stop and look back at the ninety years of Chinese animated films, we may be able to touch some objective texture from the historical structure and see ourselves clearly.

1926-1949: Romance and feelings in the left era

The "Big Studio" created in 1926 was produced by the Great Wall Painting Company. Directed by the Elder Channel, Wan brothers were created in a 7 -square -meter pavilion in Zhabei, Shanghai.The first cartoon in China was born.This creation is actually more like a technical invention in a rude laboratory, because the animation technology in the United States was confidential.

The creativity of "Dazuka" comes from a short film "Out of the Inkwell" in the United States in 1921.Similar to today and meaning, animation is still high -tech, and we are still learning technology from the United States.It was just that the American animation at that time also started. In 1928, in the first sound cartoon "Wili Steam Ship" in Walter Disney, Mickey and his girlfriend appeared for the first time.

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