If there was no epidemic, we should have seen this domestic animation nine months earlier.
The second part of "Fengshen Universe", Jiang Ziya, which was originally scheduled for the 2020 Spring Festival, was withdrawn due to the epidemic.
After the unremitting efforts of all the people, the epidemic was finally brought under control, and Jiang Ziya finally met with everyone.
"Nezha: The Devil Boy Comes into the World" slashed 5 billion box office last year, and Douban also reached a high score of 8.5.
Therefore, many people are also looking forward to "Jiang Ziya". The Academic Committee watched this movie yesterday. Regardless of the plot, just a cut of it can be used as a desktop screen, which is worth the movie ticket.
Many people also sigh as if old mothers see that their children are finally prosperous:
However, the academic committee did not quite agree with the term "rise" because it was called "rise" from weak to strong from the beginning.
But it was strong at the beginning, weak in the middle, and now it's going to be strong again. It should be called "revival."
How brilliant was the domestic animation at the time?
In 1941, the War of Resistance Against Japan entered a stalemate. On the frontal battlefield, the national army competed repeatedly with the invaders in Changsha, and the Eighth Route Army launched a hundred regiments on the battlefield behind the enemy line and continued to harass the Japanese army.
It can be said that those were the most difficult years, and no one can say how long it will take to repel the invaders.
At this time, an animated feature film called "Princess Iron Fan" was released in Shanghai's three theaters: Dashang, Xinguang and Huguang. This 72-minute animated film tells the story of "Journey to the West" which is familiar to the Chinese people. "The story of Flaming Mountain.
It's just that at the end, the main creative staff made a large-scale adaptation. For example, Monkey King and Zhu Bajie called on the local people to come forward and defeat the Bull Demon King. A line of subtitles was added at the end of the film:
In the current situation, the expression of this film is self-evident. Therefore, the film censorship of the enemy and the puppet cut the subtitles when it was shown in the occupied area.
But no matter what, the film was a huge success and was exported to Southeast Asia and Japan.
In Japan, after a 15-year-old boy saw this movie, he determined to become a successful manga artist.
Later when he recalled "The Iron Fan Princess", he said:
At a glance, it is clear that this is a work that embodies the spirit of resistance. The Japanese army that brutally ravaged China was hit hard by the concerted efforts of the Chinese people. The intention of this film is clear. The Monkey King in the film called on the people to rise up against the Bull Demon King, which is actually a satire of the Japanese invasion of China.
At that time, the world’s film industry was still in its infancy. Only China and the United States made feature-length animated films, and "Princess Iron Fan" has also become a successor to Hollywood's "Snow White", "Little Man Country" and " After "Pinocchio", the world's fourth animated feature film.
It can be said that domestic animation at that time was in a leading position in the world.
After the founding of New China, Wan Laiming, Wan Guchan, Wan Chaochen, Wan Dihuan and others who filmed "Princess Iron Fan" returned to the mainland to participate in the construction of New China.
At that time, New China was poor and wasteful, waiting to be revived, but the country did not neglect cultural construction, including animation.
In 1950, the Changchun Film Studio established an art group. Seven years later, as the scale continued to expand, a single "group" could no longer meet the demand.
Thus, the childhood memory of all Chinese people-Shanghai Fine Arts Film Studio (hereinafter referred to as "Shangmei") was established.
Because of the international situation, the literary works of the time were inevitably "political in command", and the main role of cartoons was to communicate with foreign countries and showcase Chinese national characteristics.
Therefore, when we look at the early animation works of the United States, we will find that it is very Chinese style. The ink-and-wash style "Little Tadpoles Find Mother" and the paper-cut animation "Pig Bajie Eating Watermelon" are all very Chinese.
This style has also made the Western world shine. "Little Tadpoles Looking for Mother" won the Special Short Film Award and the Honor Award at the Annecy International Animation Film Festival and the Cannes International Film Festival.
If short animated films cannot show the strength of Chinese animation, the feature film "Havoc in Heaven" in the 1960s was a blockbuster and conquered the world.
It was Wan Laiming, the director of “Princess Iron Fan” who directed "Mao Tian Gong". The film cost 1 million RMB at the time. It was a huge production. Shangmei equipped Wan Laiming with the strongest lineup, almost all of the Chinese animation industry. Elite soldiers and strong generals have all entered this crew.
At that time, there was no computer and no drawing software, and more than 70,000 paintings in the entire film were drawn stroke by stroke by the staff.
Fortunately, Sun Dasheng lived up to expectations and received rave reviews when the first episode was released in 1961.
Three years later, when Wan Laiming delivered the next episode he had produced, he received a head start: Some people say that the Jade Emperor in "A Rare in Heaven" is alluding to the country's leaders, so the next episode will not be released, but Wan Laiming also suffers. It's a severe review.
It has been 14 years since Chinese audiences saw the full version of "Hit in Heaven", and when foreigners saw this animation, they all said: Kneeling.
"Havoc in Heaven" won the Best Picture Award at the London International Film Festival;
The American "Variety Show" magazine asserted: "Hit in Heaven" is the best animated film;
The Associated Press commented:
So why did the Academic Committee suggest to use the word "Renaissance", because Chinese animation really convinced Americans.
At that time, a young man in Japan watched "Havoc in Heaven" and regarded animation as his lifelong goal.
In 1979, Shangmei launched "Nezha Naohai". This work is still hand-painted, and 50,000 paintings are used in the whole film.
1979年，尚美推出了“ Nezha Naohai”。该作品仍是手绘的，整部电影中使用了50,000幅画。
At the beginning of the reform and opening up, among the most popular literary and artistic works in the country were "Nezha Naohai" and Liu Lanfang's storytelling "The Story of Yue Fei". These two works with the theme of redressing wrongs and prisons also coincided with the mainstream social notions of bringing chaos to justice at that time.
It's just that the Chinese animation that is in the limelight may not realize that a crisis is coming.
Some people say it was in the 1990s, and some say it was after 2000. But in fact, since the 1980s, Chinese animation began to be overtaken by Japan and the United States.
After opening to the outside world, Japanese and American animations that have matured and formed an industrial system began to be introduced on a large scale. Under the other's mature industrial system, Chinese animation, which has been stagnant for more than ten years, has begun to show signs of decline.
With the increase of TV users, more and more people have switched from the big screen of the movie to the small screen, and the introduction of "Cat and Mouse", "Transformers", "Saint Seiya" and "Astro Boy" has made China The audience was dazzled, and the scale of dozens or hundreds of episodes also firmly tied the Chinese audience. Many people were shocked after watching:
In the past, Chinese animation was the kind of story that only told one story, and it ended when it was over. There was no serial drama. Faced with the impact of foreign animation, Shangmei has successively launched "Sloppy King's Adventure", "Black Cat Sheriff", "Gourd Brothers", "Cube Building" and other masterpieces.
Unfortunately, Shangmei’s "self-help" came a little too late.
Among them, after the fifth episode of "Black Cat Sheriff" was broadcast in 1987, the words "please watch the next episode" were typed, but we have never seen the next episode.
Therefore, over the years, there have been rumors about why only five episodes of "Black Cat Sheriff" have been broadcast. Some say that the director Dai Tielang and the original author Chu Zhixiang fell out because of copyright reasons; some say that Dai Tielang was forced to retire.
However, a lot of evidence shows that neither of these two claims is tenable, and Dai Tielang and Chu Zhixiang had a lot of interaction afterwards. Moreover, Dai Tielang didn't retire until 1991 working in Shanghai.
Prior to this, the business model of Shangmei had always been state appropriations and production quotas. After the Meiying Studio completed its works, it was acquired by the state-owned film company. Shangmei does not need to face market competition, nor need to pay attention to the schedule. It is precisely because of this model of drought and flood guarantee that Shangmei will even polish one work a year.
However, under the market economy, this method has become unsustainable. At that time, Guangdong had already established a number of private animation companies, whose main business was OEM for the United States and Japan.
The wealthy developed countries offer Chinese animators a treatment that is hard to refuse.
An animator from Shangmei recalled that he paid 800 yuan more for the production of "Deer and Cow" in Shangmei, while other companies paid him 5000 yuan a month.
Not only in the animation industry, almost all talents at that time moved to developed areas. In order to develop better, Mao Ning from Shenyang learned fluent Cantonese; Jet Li retired from the martial arts team with a disability certificate and plunged into the Hong Kong film scene. .
By the early 1990s, Shangmei had had to sell its indicators to survive, and the sequel of "Black Cat Sheriff" had died down.
Throughout the 1990s, Chinese animation was in decline under the impact of foreign works.
Looking back at that era, you will find that Chinese animation is backward in all aspects.
Japan has long-selling classics such as "Slam Dunk" and "Dragon Ball", as well as literary and artistic novels produced by Hayao Miyazaki, and "Captain Tsubasa", an era classic that will influence a group of European and South American stars in the future.
As for Disney's "Toy Story", you will be surprised that this is a 1995 work, in which unforgettable imagination, ups and downs of stories, full characterization and funny and touching interactions.
And China can only reluctantly resist the inferior works like "Big Head Son and Little Head Dad". Although the "Baolian Lantern" in 1999 was greatly promoted, the overall quality is still much worse than that of Disney.
Young children, almost everyone’s impression of Chinese animation in those years, and from that time, many parents think:
In 2006, a document from the State Administration of Radio, Film and Television made foreign animation disappear on the prime-time TV screens.
The purpose of this move is to make Chinese animation flourish, but anyone with a little social experience knows that this kind of refusal to enter in order not to lose will only make oneself lose even worse.
In the following years, except for the "Rainbow Cat, Blue Rabbit and Seven Heroes" in which Yu Hua served as a literary consultant, which received a good reputation (and was also reported to be taken off the shelves), domestic animations could be said to have failed. The IPs that dominate the screen all the year round are low- and young-oriented works.
And the 3D large-scale magical giant "Lei Feng's Story", almost intact plagiarism from the Japanese animation "Taiwan Trainman" "High Railman", and plagiarism "Crayon Shin-chan" "Big Mouth Dudu", so that Chinese animation will soon become a reality. A joke.
Those first-class talents who really love animation are always working hard to shine. Just controlling too many TV platforms is not a fair place for them to display their talents.
Although the Internet platform was not mature more than ten years ago, the early Internet speed could only support Flash animation, and there was no money to make, but it did not have so many speechless constraints, and it allowed them to show their talents. world.
It is them who make the domestic animation on the network platform extremely rich in subject matter and all-encompassing. There are the joyful "Hundred Thousand Cold Jokes", the martial arts theme "Painting the Bad People", and the fantasy and passionate "Soul Street".
When many animators started on the online platform, they might just fight single-handedly, perhaps just a small workshop of three or five people, but with their enthusiasm, persistence and talent, they could only "generate power with love" and became the most precious of China's animation industry. seed.
Looking at the domestically produced animated films released in theaters over the years, many of the main creators have started from the Internet platform to "de-guarantee upgrade".
The dumpling director who produced "Ne Zha" became famous in 2008 with the web animation "Hit a Big Watermelon".
制作“ Ne Zha”的饺子导演以网络动画“ Hit a Big Watermelon”而闻名。
Before "The Great Guardian", Bu Sifan also produced famous works such as "Black Bird", "Xiaomi's Forest" and "White Bird Valley" in the field of online Flash animation.
In addition, the wood of "Luo Xiaohei Zhan Ji", Liang Xuan and Zhang Chun of "Big Fish and Begonia" also received follow-up investment by means of "network test samples".
At the same time, as the number of cinemas continues to increase, the number of cinema screens in my country is also increasing. In 2011, there were only 9,286 screens in the country, and by 2019, this number has grown to 69,787.
We audiences are also lovely enough. Although we usually complain about domestic animation every day, once we make progress, we never save money for a movie ticket and encourage praise.
"Quiba", "The Return of the Great Sage", "The Big Fish and Begonia" and "The Great Guardian" have appeared one after another, all of which have achieved good reputation or box office results.
But they all have problems of one kind or another. For example, they are attracted to children, or they emphasize artistic performance and ignore the plot.
At that time, the school committee wondered, when will China be able to produce a picture that has both a picture and a story, and the artistry and thought are not inferior to the animations of Disney and Pixar.
Fortunately, I didn't wait too long. In 2019, "White Snake: Origin" and "Nezha's Devil Child" appeared one after another. This is a more mature work than the previous animated films.
The latter, in particular, won a record box office of 5 billion, making the voice of "the rise of domestic animation" resounded through the Internet.
The work itself, the picture need not be said, just telling the story, it explores the issues of family education, social prejudice, personal growth and other modern people's concerns, and there is no preaching element.
We finally saw the dawn of the revival of domestic animation.
The success of "Nezha's Devil Child Comes to the World" makes us understand:
It is difficult to say because in terms of industrial development, we are indeed behind the two animation giants, Japan and the United States, for too long.
But it is not difficult to say, because we already have sufficient financial resources and a sufficiently large market. Moreover, China has a long history and rich cultural resources. There are countless myths and classic novels, and there are themes that can resonate enough.
But at the same time, we must dare to adapt the classics, because many traditional classics no longer conform to modern values.
For example, in the American Disney Princess series, the princesses have also changed from waiting for the prince to save, to being able to fight the bad guys, save the prince, and even cut the prince by hand (such as Frozen).
The development path of Chinese animation proves that no industry can build a car behind closed doors and lie on its laurels. It must keep pace with the times and adapt to the new market needs to last as long as a glass of wine.