I won't say much about the current predicament of the animation market in China, and there are too many wonderful discussions in all aspects. Optimists have, most fans are too pessimistic. To be honest, I'm not optimistic either. But I think China's animation has a chance to break through. Everyone says that our animation industry is backward and has been in a backward state for a long time. I think so, too, but after reading two books by Brother Sima at the starting point (Living Colors and Arousing Fragrances and Male Teaching Assistants in Beauty Class), I have a brand-new understanding of the concept of performance. I think animation, animation and its peripheral products are all audio-visual products, just like any film and television production. Its core value lies in its expressive force, which is shocking or appreciative. I never think that China's animation lacks expressiveness. It's just that our country and nation have been impacted by too much material and money over the years, which has shattered what we once insisted on. I am a standard comic fan, and I like comics from any country. When watching cartoons as a child, we didn't seem to deliberately distinguish between China and foreign countries, because the country is equally beautiful. What's wrong with disturbing the Heavenly Palace? Scripture, Snow Boy, Hulu Brothers, Sloppy King, Black Cat Sheriff, classic puppet film, such as Two Generations of Love, Mirror Flowers and Water Moon, and many other unique Chinese ink cartoons are quite good-looking, and they are also good-looking now. First-class story, first-class creativity, first-class production, pleasing to the eye, perhaps not modern rendering effect, but it is definitely an audio-visual feast. Now think about it. At that time, it seemed that every animation work in our country was free. I don't know when it started, and the production of animation became more and more rough and less creative. Since Shuke and Beita, the picture is no longer bright, fresh and moving, but the story is still beautiful. Since the big-headed son and the small-headed father, the novel new journey to the west has lost even a little artistic content. Creativity is O, painting style is children's stick figure, and plot is fooling children. China animation became synonymous with rubbish and naivety, and never recovered. Let the Chinese people continue to be disappointed and constantly scold, and finally have to say. Ten years in the blink of an eye, China's animation has finally improved, at least in terms of production and visual effects. It can be seen from Ming Yue in Qin Dynasty and Romance of the Three Kingdoms to Dream Back to Jinsha City nominated by Oscar recently. But the soul of China's animation has not been found back. China's animation has not recovered its expressive force or its performance and creativity.

First of all, institutionally, we need a more open policy to absorb a wider range of topics. Chinese, the starting point among us, is actually a treasure house of a subject. When the state encourages and supports the development of the animation industry, it must support it in place, and the examination and approval must be truly relaxed with little intervention. Let cartoons have many trite themes like movies and TV series.

Secondly, technically, I need better and more professional directors, screenwriters, producers and voice teams. As far as I know, there is no shortage of animation industry workers in China, and there are many post-production companies for foreign animation in China. /f？ Kz=500976687) really injected soul into China's animation and showed the expressive force and performance ability that China's animation should have. I also hope to see China's unique puppet shows, paper-cutting and ink-wash cartoons again. I hope our animation, like Japan, has a humanized system centered on people and studios. Simply put, the painting style is superficial. For example, Miyazaki Hayao, Toriyama Akira, Rumiko Takahashi, Mitsuru Adachi, Gui Zhenghe, and Tsukumoto Shou, when you see their works, you will know who wrote them.

Similar to an excellent actor's emotion when he is very involved in the play, it can be seen everywhere in Japanese comics.

Animation directors in China, just like film directors refer to film actors, can find enough complicated and delicate abilities, creativity and technical problems to endow animation roles.

Third, we need enterprises and entrepreneurs with foresight and enterprising spirit to invest and operate. We might as well seek more international cooperation and absorb more successful experiences, so that China's cartoons can really make money. Let people engaged in animation make money, and make a lot of money. This is the basis for the survival and development of China animation. Speaking of animation, it is really an industry that burns money. A 25-minute excellent cartoon costs at least 200,000 RMB. There are great risks and opportunities. It seems that many animation companies are ready to fight for their rise. I wish them good luck.

The rest is the support of our fans and Chinese people. Please support the genuine China animation, don't watch it online, and don't buy pirated CDs. Maybe what I said is a little too idealistic, but China's culture is really going to rise, and the animation industry is really a good breakthrough. I've really had enough of Japanese animation. In recent years, Japanese animation has always relied on the inertia of a perfect industrial system. I haven't made a really great work for several years. After watching the first film "Noda is like a song", I haven't seen a Japanese animation completely. After all, it is a country with a low cultural background, and they don't know what they can dig out in their own cultural system. Even at the time of rapid development, Japanese animation is completely laissez-faire, bringing together cultural elements from all over the world to create wonderful things. No one doubts the strength of China culture, but in fact, it is really weak, and China culture lacks something that can last for a long time. Like a lecture room column. An excellent lecturer talks about the Three Kingdoms, the Ming and Qing Dynasties, the Analects of Confucius and the history and culture of Qin and Han Dynasties. After all, one of his columns will be replaced by a better-looking and more novel column. How many young people and ordinary people have been interested in him? When this column has nothing to dig, it naturally disappears. There is a saying that film is a flawed art, just like a man walking in the desert with a small amount in his hand. The tighter he holds, the less he loses through his fingers, and his work can't be perfect. The advantage of animation is that it can express the original intention accurately enough, even incisively and vividly. As long as the animated characters are endowed with souls, they are no longer limited by the acting skills and difficult movements of real actors, and can properly render various emotions and situations, which doomed that animation works can be infinitely close to the perfection of art through the production process. I have seen Miyazaki Hayao's Spirited Away many times, and I think each time is better. That's why.

I hope someone can really lead the animation elite and make China's animation really better.