From a technical point of view, I recommend you to have a look at Disney's.

From the perspective of China industry, we suggest the following:

China Animation: Creative Industry without Creativity?

After the American animated film Kung Fu Panda dominated the rivers and lakes for more than a month this summer, the domestic animated blockbuster Battle of the Storm is being shown, which caused a sensation in the animation industry in China. Although Kung Fu Panda has not earned nearly 200 million yuan at the box office at present, the box office income of 25 million yuan in the two weeks after its release is not bad, setting a new box office record for domestic animated films in recent years.

However, just like the controversy caused by Kung Fu Panda, the audience also gave different voices to Ding Fengyun. As a landmark animation work, Storm Decisiveness has explored a breakthrough for the development of domestic animation? Or is it an "alternative case", a dazzling but short-lived visual feast? "Success is also a storm, and failure is also a storm." Can The Storm Revive the Animation Industry in China?

/kloc-What kind of curve has China's animation industry drawn in the past 0/0 years, from Lotus Lantern, which received mixed praise, to Ring of Mobius, which invested a lot of money but failed at the box office, to Hulu Brothers, which was squeezed out by Kung Fu Panda, and to Decision of the Storm, which has a good reputation and box office? How many hurdles does China's animation industry need to overcome to get out of the predicament?

As an important part of the 2nd China International Youth Animation Week, the 2008 China International Animation Industry Development Summit Forum was held recently in Harbin. Experts attending the meeting pointed out that the disconnection between animation industry and animation education, the lack of creativity in animation works and the lack of elite talents are restricting the development of China's animation industry.

Creative industries lack creativity?

As a typical representative of cultural and creative industries, the domestic animation industry has been plagued by the lack of creativity. Some experts say that China's animation works have reached the stage of "plagiarism" and "imitation".

Hu Yueming, director of the Cultural Market Development Center of the Ministry of Culture, believes that the author's lack of understanding of cultural elements is one of the reasons why there are no good works in China so far. "If the new generation of authors can't fully understand the elements of China and the essence of China culture, they can't produce good works without cultural precipitation."

It is understood that among the many award-winning works in the 4th China International Cartoon & Animation Festival in 2008, the investment cost of each work is at least 6.5438+million yuan, but the best works at the box office only have a return of about 6 million yuan.

Experts in the industry said that "Decision of the Storm" broke through the characteristics of traditional animation, such as low IQ, heavy preaching, simplicity and roughness, and no attention to visual effects. The works use a lot of China elements to interpret chivalry, love and hate. However, some critics have pointed out that "the connotation is empty and gorgeous", "the lack of cultural connotation is more than visual shock" and "judging from the production of" The Decision of the Storm ",China's animation technology has reached the international level, but because of this, its lack of culture and value is particularly prominent. When the audience walks out of the theater, they will find that their minds are still blank-this is the real weakness of The Decision of the Storm.

Yibing Ouyang, executive vice president of China Animation Association, said that we love Kung Fu Panda not only because of its China element, but also because of its meaning: "Any accident can happen". Because this is our expectation for the next generation: as long as you can struggle, you can leave a bright future for this world. Isn't that what all parents want?

"Domestic animation works lack innovative design ideas. If all the stories can be seen from the blue cat, then they can also be seen from the black cat. They have been following the rules and there is nothing new, which is the key reason why we can't create good works, "Hu Yue said.

An industry expert believes that at present, domestic animation works have reached the "plagiarism period". Now many domestic animation works may have their own stories, but the images in the stories are borrowed from foreign works, and there are many such things in the domestic market. The movements in Chinese cartoons are all American martial arts movements, and they are all the movements of Transformers and Spider-Man, so they have become the "four unlike" that no one recognizes.

Hu Yue said: "China's current works lack humor and comprehensive modeling creativity. There are deep cultural factors in the modeling of foreign animation stars, such as Donald Duck wearing a headscarf and sailor suit; However, the domestic animation modeling is too simple, there is no humorous idea in it, there is no creativity, and the comprehensive modeling ability is seriously insufficient. "

An expert said that domestic animation works mainly focus on children, ignoring adults, and the films made seem to be for children under 5 years old. However, if people read Tom and Jerry and other works abroad, no one will deny that it is a work suitable for all ages, and adults will laugh happily after reading it.

"In China, all animation programs are concentrated on children's channels, focusing on the time when preschool children can watch programs, which is a fundamental mistake. I didn't expect animation works to have a better expansion, "said the expert.

Animation education is out of touch with animation industry?

The data shows that at present, more than 400 colleges and universities in China have set up animation majors, and 1200 colleges and universities have set up animation-related majors, with the number of students reaching 65,438+10,000. However, because animation production talents need to have multidisciplinary knowledge reserves, and the input cost is high and the education cycle is long, there is still a shortage of compound talents with both operational technology and artistic expression, and the shortage of talents has become a key factor restricting the quality improvement of animation industry.

Experts believe that there may be policy problems such as broadcast time and broadcast cost in the animation industry, but these problems can be ignored in the process of progress. Cultivating creative talents who can understand cultural elements is the most important thing in the development of the animation industry.

An expert said that some domestic animation writers are young people, all of whom are trained by computers, but if they have no cultural precipitation, they can only be said to be OEM tools.

Xue Yunxiang, director of the Animation Department of the School of Urban Design of the Central Academy of Fine Arts, believes that the lag and weakness of domestic teaching, the shrinkage of courses and the low quality of teachers in top-quality courses have led to a series of problems.

"Japan's animation industry base has no scale. Their industrial base is not as spectacular as ours, like a five-star hotel, but their small rooms can make big productions. They attach great importance to the cultivation and training of industrial talents; At present, the animation industry in China only pays attention to the results of the final products, ignoring the basic efforts made in the early stage to build these products, and the last thing in the early stage falls on colleges and universities, "Xue Yunxiang said.

Xue Yunxiang said: "Last year, the Ministry of Education turned the animation major into an animation major. Software is only one third of animation teaching, and it is a technical course. It is very important to be original in the early stage of animation. However, I visited many colleges and universities engaged in animation teaching in China and found that there are basically no original courses, no modeling courses and no script courses. Basically, they are all courses with software, and computer courses are the main courses of our animation teaching. "

Xue Yunxiang said that in this way, during the four-year study, students did not learn the course of animation ontology at all. After graduating from work, he will find that he is not as good as a person who has only received computer training for one year and has no higher education. "Animation education is a five-year exploratory period."

Experts believe that there is a disconnect between animation training and original education in China at present, and original training is unwilling or impossible; I don't know how to combine the original training with it, which leads to the high cost and long time of domestic films.

I look forward to the early integration of the works with the audience's psychology.

Experts believe that animation relies on a story to create an image, which is humorous, virtual and humanized. Anime stories are so bizarre that real people can't understand them. Let people find a point in reality and virtual space, and help them know what they want through works. Children's cartoons are not only for simple entertainment, but also helpful to their outlook on life, objective understanding of the world and self-orientation.

An expert said, "the recognition of human nature is eternal." Educators and producers serve the audience. If you don't understand the mentality of the audience, the audience will not recognize it and will not pay the bill. "China's animation is out of touch from industry to education, not only from the market, but also from the audience's psychology."

Yibing Ouyang believes that an essential thing in animation thinking is that artists perceive and express the world with humorous eyes and set the story structure and plot with whimsy. Humor is wisdom, a profound understanding of life, and an incisive grasp of the complex and diverse nature of real life. Without this foundation, all humor is just funny, funny and garrulous.

Xue Yunxiang believes that the main audience of China's animation works is the children born after 1980s. They all grew up watching Japanese animation, and their knowledge of animation stayed in the foreign mode, while our domestic animation education and teaching was very short-lived, so our teaching mode had to refer to foreign countries invisibly.

Xue Yunxiang said that because the domestic audience obtained the evaluation system from abroad, the courses of domestic animation education, including animation teaching in famous domestic universities today, were designed according to the model of Japanese works, not from the perspective of humanity, nationality and humor of animation art itself. Therefore, the audience doesn't want to see the works produced by domestic students, and the standard they agree with is the understanding and judgment of animation abroad. So now domestic animation education is far from the actual production and audience demand.

"The solution depends on the post-80s children. First of all, let them participate, let some of them become some original workers in the industry, organize industrial teams, use their understanding of animation to make animation works for themselves and younger children, and realize the integration of future animation works and audience psychology through training them, "Xue Yunxiang said.

In addition, experts believe that in order to promote the harmonious development of animation industry in China, government departments at all levels, network industry and scientific colleges should join hands to enhance the value chain of animation industry; From the aspects of technology, platform, service, personnel training and intellectual property rights. We will improve the industrial environment, support the construction of technical system and promote and create a good market system.