1922 ~ 1945 is the period of germination and exploration.
19 18 American cartoons, such as Jumping Out of the Ink Bottle, landed in Shanghai one after another, making China people in semi-colonial and semi-feudal society fascinated by magic cartoons. The first generation of China animators, represented by Wan Laiming, Wan Guchan and Wan Wan, came into being with the belief of creating China people's own cartoons and became the pioneers of Chinese cartoons. After their hard exploration and development, 1922 produced the first advertising cartoon Shu Zhendong's Chinese Typewriter in China. Later 1924, China Film Company produced an animated film "Dogs Treat" and Shanghai Tobacco Company produced an animated film "Chinese New Year". These two films are the earliest cartoons in China. However, none of them had an impact. What is influential is19.26 million brothers' painting "Make a Big Scene Studio". 1935,10,000 brothers released the first animated film Camel Dancing in China, 194 1 year, and the first ministerial animated film Princess Iron Fan was released in China.
1946- 1956 is a period of stable development of Chinese cartoons. Under the leadership of Mao Zedong, People's Republic of China (PRC) was born on June 1949+ 10/day. Previously, the productivity of the Northeast Film Studio, headed by China's puppet film "The Emperor's Dream" (1947) and the animated film "Catch a turtle in a pot" (1948), laid the foundation for the production after the founding of the People's Republic of China. During the period of 1950- 1956, the creation and production of Chinese cartoons showed the following characteristics: (1) In terms of theme, a fairy tale was used to serve children, and Cat Fishing was filmed (1952); Stylistically, he embarked on the road of nationalization, and produced The Magic Pen of Puppet Movie (1955) and Pride General (1956). Technically, from black-and-white movies to color movies, the first color puppet show Little Hero (1953) and the first color traditional cartoon Why Crow is Black (1955) were all made in China.
1957- 1965 is the first prosperous period of Chinese cartoons. 1957, Shanghai Animation Film Studio was established, which made China the first professional factory to independently produce art films. Under the guidance of Mao Zedong's literary policy of "letting a hundred flowers blossom and a hundred schools of thought contend", the enthusiasm of artists was fully mobilized, and China's animation creation entered a period of prosperity and development. Output has risen, reaching an unprecedented level in terms of artistic and technical quality. Many films have won awards at international film festivals, which has formed a world-recognized animation genre in China. During this period, the world-famous classic blockbuster "Make a scene in Heaven" was produced (the first episode, 196 1, 1964). New films keep coming out: 1958, the first Chinese newspaper clipping "Pig Eight Rings Eat Watermelon" was successfully trial-produced; 1960, he created the first origami "Smart Duck"; 196 1 year, the first ink-and-wash cartoon "Little Tadpole Looking for Mom" was born, which added a new genre that can best represent the Chinese style to the world animation film industry. 1963 produced the ink cartoon Moody, which used ink to express people, animals and scenery, expanding the expression field of ink cartoon. In addition, the diversification of themes is also a major feature of animation production in this period.
1966 ~ 1976 was during the cultural revolution.
During the four-year period (1967, 1969, 1970, 197 1), all animation manufacturers stopped production, resulting in revolution. 1972, Shanghai Animation Film Studio took the lead in resuming production. By the end of the Cultural Revolution in 1976, 17 cartoons had been produced. The cartoons of this period, such as The Trumpet (1973), Xiaoba Road (1973) and East China Sea Sentinel (1973), all describe the revolutionary war before the founding of the People's Republic of China, describe the class struggle, line struggle and ideological struggle in socialist society, and praise the workers and peasants. In the way of expression, follow realism. 1976' s ink painting clippings "Bamboo Shoots Growing in the House" ingeniously combined China ink painting with folk paper-cutting, adding a new seedling to the world comic garden. 1976 ~ 1989 is the second prosperous period of Chinese cartoons.
From the end of 1978, China entered the era of reform and opening up. This period was the most prosperous in chinese comic in the 20th century. During the period of 10, a number of new animation production departments emerged, which changed the situation of Shanghai animation film studio. China has produced 2 19 animated films, and produced a number of excellent films representing the highest level of Chinese animation, such as Inanahai (1979), Wonders of Heaven (1983) and Luling (1982). There are also foxes shooting hunters (1978), my friends Little Dolphin (1980), Xuetong (1980), monkeys fishing for the moon (198 1) and Mr. Nan Guo. Butterfly spring (1983), Huo Tong (1984), Golden Monkey Demon (1984- 1985), Scarecrow (1985), Deer rescued with clips (/kl The first production of the animation series also produced a number of excellent works that were deeply loved by the masses, such as Hulu Brothers (1987), The Adventures of Sloppy King (1987), Sheriff Black Cat (1984 ~ 1987), and There are many artistic cartoons with profound contents, sharp allegories and shortcomings, such as Three Monks (1980), Super Soap, Newly Dressed Doorbell (1986) and Niu Yuan (1989). At the same time, the social influence and international reputation of Chinese cartoons have also greatly jumped, winning wide acclaim. 1990 ~ 2002 is a period when China's animation industry has been expanding. In the 1990s, Chinese cartoons began to take a different road from the traditional ones. The exchange of experience with foreign animation manufacturers, the massive involvement of digital production means, the diversified development of various system production units, the continuous growth of animation talents with one specialty and many functions, and so on. , all make the production of China animation have a leap in quantity and quality. Especially since 1995, China Film Projection Company no longer implemented the planned economic policy of unified purchase and marketing for cartoons, which pushed the animation industry to the market, changed the production state and business model of cartoons, and gradually established the concept of win-win social and economic benefits. A major feature of domestic cartoons in the 1990s is the prevalence of large-scale animated series. China has changed from the protagonist of the short film of cinema animation to the international trend of large-scale, continuous and serialized TV cartoons. In terms of production, the technical strength of computer animation in China has also been significantly enhanced, and the background technology of computer drawing has become more popular. Three-dimensional and two-dimensional computer animation has developed rapidly, forming a new concept of "big animation system" from planning, creation and dissemination to series product development, thus promoting the rapid development of animation industry.
The 1990s became the turning point of animation production in China. Excellent animated feature films produced in this period include: Lotus Lantern (1999), David Panda (1999) and Kyle Polo's Return to Xiangdu (2000); Excellent animated short films include: Deer and Cattle (1990), Yan Zhen (199 1), Doctor and Emperor (199 1), and Lift the Donkey (1). Twelve mosquitoes and five people (1992), the sparrow chooses the king (1992), the deer girl (1993), the music boat (2000) and so on. Excellent comic series include: thief (1990), Shuke and Beita (1989 ~ 1992), gourd king kong (1993) and blue mouse and big-faced cat (1993). Big-headed son and small-headed father (1995), since ancient times, young people have been heroes (1995- 1996), the journey to L (1997) and Oba the stupid duck (1997). How did it come about (1998), Journey to the West (1999), Beibei from Thunderbolt (1999), Little Buddhists (1999), Chinese traditional virtue story (2000), etc.
Entering the 2 1 century, the output of animation companies, production enterprises and cartoons in China has continued to increase. By 2002, there were more than 120 animation production companies (including related enterprises) in China, which was five times higher than that in the late 1980s. In 200 1 year, China produced 7 animated short films and 42 series cartoons, with a total output of about 18000 minutes, an increase of 5000 minutes over 2000; In 2002, 53 animation series and short films were produced, with a total output of about 17300 minutes, which is close to the level of 200 1 year. The art animation short film that has been neglected for many years, 200 1 a batch of works came out in 2002. Such as: Memories of Time Past, Whose Husband Walked Farthest, Honest Wandering, Dream of Dunhuang, Black Cat, Thunder, Pond, etc. Computer animation and network media animation have developed rapidly. The TV series "Blue Cat Naughty 3000 Questions" was all produced by computers, and "Little Tiger Scabbers" released on 200 1 was the first domestic cartoon. Various animation websites are very active, especially Flash animation, which has been welcomed by young students and animation lovers. Animation creation and exhibition activities are very enthusiastic. Animation education has developed rapidly. By the end of 2002, there were more than 70 colleges and universities in China offering animation majors with more than 5,000 students. The research of animation theory is in the ascendant, and there are many articles and works. During this period, animation production was mainly based on a series of films. Mainly include: Tiger Return, Coco, Happy Family, Qian Qian's Problem, Our Home, Adventures of Xixi Guagua, Pigeon Island, Young Di Qing, I'm Crazy for Singing, Pai in the City, Five Thousand Years in China and so on.
According to statistics, from 1922, when Wan Brothers produced the first advertising cartoon, to 2002, China produced 1 168 cartoons.
Master animators and accomplished animators in China mainly include Wan Laiming, whose main works include Princess of the Iron Fan (1940, cooperation) and Making a scene in Heaven (1961-kloc-0/964). Cooperation); The main works of Wan Gu Chan: Princess Iron Fan (Cooperation), Pigs Eating Watermelon (1958), Fisherman (1959), Ginseng Doll (196 1) and Golden Conch (65438). Wan, main works: Princess Iron Fan (Cooperation) and Wit Goat (1956); Tewei's main works: Pride General (1956, Cooperation), Little Tadpole Looking for Mother (1960, Art Director), Moody (1963, Cooperation), Golden Goose (1963). (1960), "Who has the greatest ability" (196 1) and "unhappy without brains" (1962); Lin, whose main works are Snow Baby (1980), censer throwing furnace (198 1), the demonization of golden monkey (1985, cooperation), and the rescue of deer with clips >: (1985) Tielang Dai's main works: The Hen Moves (1979), My Friend Little Dolphin (1980), Little Red Face and Little Blue Face (1982), Black Cat of the Sheriff (1984-655). Zhou Keqin (1942.3.28 ~), his main works: monkey fishing for the moon (198 1), panda imitating carpenter (1982), mango with legs (1983). Yan Dingxian (1936.9. 12 ~), his main works: We Love the Countryside (1965), After School (1972), Trial Sailing (1. Cooperation), ginseng fruit (198 1), golden monkey demon (1985), Shuke and Beita (1989 ~1990); Shanchun Yan, main works: Lao Lang's treat (1980), Wang (1985), The Adventures of King Sloppy (1987, Cooperation), Mountain View (1988, Cooperation); Hu's main works: The Radish is Back (1959), Waiting for Tomorrow (1962), It's Almost Time (1964), Little Sentinel in the East China Sea (1973), The Fox Killed the Hunter. Guangchang, whose main works are: butterfly spring (1983, Cooperation), Deer Rescue with Clips (1985, Cooperation) and Strange Mongolian Horse (1989 ~1990); Mark Xuan, main works: cleaning (1986), new doorbell.
At present, the main production departments of Chinese cartoons are: Shangmei Art Film Studio, Animation Department of CCTV Youth Program Center, Beijing Science and Education Film Studio, Animation Department of Beijing TV Youth Center and so on.
On the world animation stage, China Animation Institute has attracted extensive attention and praise for its unique charm. It is an excellent tradition of Chinese cartoons to emphasize ideological content and attach importance to guiding the audience with healthy content. China animation is a pure land, where there is no blood, let alone pornography. This is impossible for any cartoon in a capitalist country. Adhering to the tradition of traditional Chinese painting is a remarkable artistic feature of chinese comic. China has a long history of painting, sculpture, architecture, costumes, and even folk arts such as opera, folk music, paper-cutting, shadow play and New Year pictures, which provide inexhaustible reference materials for various types of cartoons. For example, ink cartoons such as "Lu Zhongshan" are born out of freehand brushwork of flowers and birds and freehand brushwork of landscapes in Chinese painting; Traditional cartoons such as "Noisy Heaven", "What Noisy Sea" and "Qitan Noisy Heaven" draw lessons from the murals of ancient temples in China; Newspaper clippings such as Fisherman's Boy, Golden Conch and Niuyuan. Drawing on the face of Chinese shadow play and folk paper-cutting, Mr. Nanguo and Mr. Huo Tong combined the rich style of stone relief and brick relief in Han Dynasty. In "Three Monks", the gestures of the characters and the fresh background music design all adopt Chinese opera, arrogant generals and doctors and emperors, which endows Beijing opera characters with personality. The immortals, ghosts and gods and charms depicted in chinese comic are also completely localized, such as Emei Bordet and Taibai Venus, and sometimes the land god who comes out of the ground is nosy and short as a dungeon. Wearing a red coat hot wheels, he can become a white fat man with superhuman powers, Nezha, holding a golden cudgel, and can distinguish faithfulness, treachery and despair of good and evil. There are also clairvoyance, clairvoyance, ginseng dolls ... These animated images rooted in China's myths, fairy tales, folklore and literary works are completely native, without any dependence, and are very different from the gods, demons, magic and witchcraft in ancient Greece, Rome, Europe and America. Even cartoons depicting modern life, from dress customs and environmental descriptions to characters' faces and personality characteristics, are pure China spirit. It is the reference of excellent traditional culture and the purification of local real life that makes China's cartoons show the authentic Chinese style. In addition, the eclectic form is also a major feature of Chinese cartoons. The rich cultural background formed by the 5,000-year history of civilization has created the different styles of animators in China, and also brought about the pattern of animation in China. Although they are all ink cartoons, The Little Tadpole Looking for Mom uses Qi Baishi's painting concept, The Mud Flute uses Li Keran's brushwork, and Yan Zhen focuses on Jia Youfu's ink interest. Different, the environment is different. This makes Chinese cartoons unique in the world animation forest, without imitation and with various forms.
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