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Chinese and Foreign Animation Art Exhibition Seminar:How to Present and Develop Chinese Animation Art

(Summary description)2015.7.24

Chinese and Foreign Animation Art Exhibition Seminar:How to Present and Develop Chinese Animation Art

(Summary description)2015.7.24

Information

Title

Chinese and Foreign Animation Art Exhibition Seminar:How to Present and Develop Chinese Animation Art

 

Time

2015.7.24


Location

Guangdong Mueum of Art

 


 

How to present and carry forward the Chinese school of animation art?

——Minutes of Sino-foreign Animation Art Exhibition Seminar

 

 

1. Production: How can I make a good animation art work?

 

Sun Lijun (Director of Animation Art Committee of China Artists Association):

 

Hello everyone, thank you Jincheng for inviting me to be the moderator of this seminar. Let me open the scene first, so everyone can speak freely.

 

The development of Chinese animation to this day has been both good and bad. The good news is that Chinese films are now the second largest box office country in the world. When reporting every year, the national authorities say that the box office is growing by 20% and 30%, and it has surpassed the United States to become the world's largest box office country in three years.

 

But I am very worried. More than 50% of the box office of Chinese movies is contributed by American movies. What I am worried about is the issue of values ​​and aesthetics. It is actually too late to discuss the Chinese school today. It should be discussed 30 years ago. In the 1980s, the discussion in China about whether cartoons were surnamed children or beauty was the focus of many media today, "Why are Chinese cartoons so pediatric". In the 1980s, this matter was specifically discussed in the Federation of Literary and Art Circles and at the national level. At that time, the concept of the Chinese school should be studied systematically.

 

Now that I have been in this industry for 31 years, we are farther and farther away from the Chinese school. Looking back, when our traditional film industry came to an end, its own industrial standards did not meet the original standards of the United States. What is a movie? The film is first of all technology. When we talk about the Chinese school today, we must stand on its cultural and artistic attributes, but we must not forget that animation is a product of a team, not a product of one person. Today we look back at the 30-odd years of reform and opening up. We blindly emphasized marketization, but we ignored animation as the origin of art. The sentiments of those artists at that time are very respected by us today.

 

Jincheng proposed to organize a world-class manuscript exhibition of animation art, revisiting the Chinese school (or Chinese spirit) and thinking about the importance of originality of animation as art. This big exhibition, this seminar, I hope it will be like a starting gun, re-awakening the creative spirit of independent thinking. The most distinctive feature of the Chinese school is its hypothesis. Anything that is distinctive and special in China is "No sound is better than sound" in Chinese painting, which is completely different from Western Disney and Japanese animation performances and is unique. If we are too Hamei, Hari, and everything abroad is the best standard, and lose our own spirit, there will be no way out for Chinese animation and animation. Now, we have to deal with consumers who are nurtured by the influence of Japan and the United States. How can we make them realize that China's own "steamed buns" are as delicious as the so-called "cakes" in the United States and Japan, so that they can see our cultural influence from the perspective of the United States and Japan. Until now, when I come to Guangdong for morning tea, no one will eat a big cake. They eat all kinds of buns. To the north, they must be dumplings and slicing noodles. This is our basic soil.

 

Chang Guangxi (Original Director of Shanghai Fine Arts Film Studio):

 

I am very fortunate to be in such a precious period of Chinese animation school. My enlightenment animation was in 1962. I was in the animation department of Shanghai Film Academy. Our graduation creation was a film made by classmates and students. The name of this film is "No Mind and Unhappy".

 

After 1952, I entered the Shanghai Fine Arts Film Studio and participated in the creation of cartoons. I can paint original paintings after I finish learning, but after we enter the film factory, first you have to paint on the lines, draw lines one by one, and then apply the colors. This is the lowest level of work in the animation program, but we have to Start with an apprentice. After that, I participated in the film "Making Havoc in Heaven", and I could only draw animations and do continuous, relatively hands-on work. Do it step by step. "Little Sisters of Heroes on the Prairie" is the original painting of my trainee. When I was a director, I was 41 years old, which is unthinkable among young people who are currently creating animations.

 

The reason for this process is that the people who were doing animation at that time were very dedicated and worked diligently step by step without any thoughts and ideas of fame and fortune. The creative atmosphere of the entire Shanghai Art Film Studio was very good. Individuals can communicate with each other, give each other opinions, and communicate with each other. If you are good, I can absorb it. If you are not good, I can raise my opinions on your work in person, and everyone can communicate. Looking back now, the ecological environment of that animation will never come back.

 

I am majoring in animation at school, and sometimes I meet students who make some works, two or three minutes of works, and one person has many names. In fact, young creators need to establish a team spirit, because cartoons are not created by one person, cartoons are a collective creation, a team fighting collective, you can give full play to the power of cartoons.

 

In addition, I talk about some technological revolutions. Dean Sun Lijun said that in the past we used to draw lines and color, but now digital is fine. We used to take pencil sketches, and then put them on the movie machine after taking them one by one to see how the action works. What is it now? Nowadays, colleges and film companies are using motion capture devices. This is very popular. With the development of technology, if the animation is all made according to the actions of the motion capture device, the characters of the animation will become more and more realistic, but the charm of the animation may be lost a lot. At that time, each of us participated in the filming crew and had a must-do homework. We collected materials to draw sketches and kept drawing the dynamics of the characters. The skills were very good. Many animations in China are not enough for performances, because many original animations lack the necessary training to portray characters and dynamics. When a giant like our animation is walking, sometimes the pace of technology may be too fast, or the cultural mind may not be able to keep up.

 

 

2. Process: Good animations require real people to perform good actions.

   

Zhu Yuping (Deputy Director of Shanghai Art Film Studio):

 

The Chinese school is a product of history and a product of planned economy. At that time, the country made cartoons and added extra shows in movie theaters, not selling tickets alone, but as a country's task. At this time, artists are working as artworks, not as commodities. They usually collect good materials and find first-class domestic art designs. I think the success rate of the works produced by doing this is very high.

 

Now, we are preparing a big ink painting project. I support, but I am also very worried, because the ink and wash animation industry knows that every shot of you should be wonderful. Every shot including "Little Tadpoles Looking for Mother" is very good. Under the current conditions, if each shot is wonderful, it will cost a lot of money. People nowadays cannot be as dedicated as before. The production cost of ink and wash animation is 3 times that of general animation. This 90-minute animated story can’t hold a child to sit in the cinema for 90 minutes. The child can’t sit down, and every shot really needs to be very exciting. It can stand up to the picky of people in the industry and is not inferior to our "Small "Tadpoles are looking for their mother."

 

In "Nezha Nao to the Sea" released in 1979, the atmosphere of the entire film crew is very good. Everyone will discuss each shot together, how to perform this shot and invite people to perform it. The samples are all on the projector, and the whole crew watched it together. If an action design is not well drawn, the director will criticize it on the spot, so it puts a lot of pressure on each original artist, and it is also a learning opportunity for everyone. We are all now the director watching it on the computer, and then after watching the director, we talk to the original artist privately. Now this atmosphere is no longer visible with the industrialization of animation.

 

Wen Shaolun (Hong Kong famous cartoonist, director of Hong Kong Animation and Comics Association):

 

The opening of the exhibition this morning really opened my eyes to me. In the afternoon, I also opened the ear world. I heard many experts talk about the Chinese animation school. To put it simply, the development of our Hong Kong comics has a history of forty to fifty years, but we only have a one-sided understanding of the Chinese animation school. The comic strips and comic books that we read when we were young, we didn't know much at that time. The Shanghai Film Studio's "Nausea in Heaven" and "The Wandering of San Mao" are very impressive, and the rest are basically blank. It wasn't until the beginning of New China, especially after the works of a group of cartoonists from the 1980s that suddenly appeared, did we understand that there was another group of new cartoonists. Today’s Chinese and foreign animation art exhibition allows us to connect many blank parts in the middle, not only in China, but also foreign boutiques. I have never tried to see so many in one venue. Chinese and foreign comics, including some works from Hong Kong, "Old Master Zi", etc. are very exciting.

 

Everyone knows that Hong Kong is a place where Chinese and foreign exchanges gather. The style of Hong Kong comics is precisely to absorb the skill of using camera to tell stories, and then incorporate the Chinese people's benevolent and chivalrous style. Of course, Hong Kong’s comics have been greatly influenced by martial arts novels, especially those of Mr. Jin Yong, but Hong Kong’s comics have developed a so-called "storytelling through the lens" and the humanistic spirit of the Chinese. Martial arts comics. To put it simply, introduce the style of martial arts novels into the comic world. Hong Kong has just seized this opportunity and made Hong Kong's comics into its own category. It can also be regarded as a flagpole for Chinese comics.

 

When I first entered the comics industry, we often went to Guangzhou to buy comics. Back then, we found the so-called Chinese buildings, especially the old buildings like pavilions, towers, and pavilions in comics, so that we could move the ancient buildings into our martial arts comics. We relied on these comics to absorb nutrient. This is my own memory of Chinese animation and comics. We think that Chinese cartoonists are basically artists, because they have a deep foundation, not from storytelling, but from art, especially brushes, which are not easy to learn.

 

Just now many experts mentioned movies, and I am mainly engaged in animated TV series and TV films. This road is very difficult to walk, there are many places where the market is immature, where the technicians are immature, and so on. I just saw two movies recently, one is "The Return of the Great Sage" and the other is "Monster Hunting", which feels like a reborn, is a pure Chinese story, one is the fairy demon, the other is "Journey to the West" ".

 

In the past, I felt that Chinese animation was relatively weak in terms of performances. I think that these two films are performed through animation. They are not like watching cartoons. The performances are wonderful and they are telling stories to you. Chinese animation has reached a new level and is very, very close to the international scene.

 

 

3. Spiritual core: Is internationality or nationality important for the Chinese school?

 

Pi Daojian (Professor of Fine Arts Department of South China Normal University):

 

This is a great exhibition and it was done in a timely manner. In the past, many old artists painted comic strips. This is an art style that I liked very much when I was young. He Youzhi’s "The Great Changes in the Countryside" I like very much. It is very good, so I saw it today very cordially. The exhibition is called "The Chinese School of World Animation", and I very much agree with this formulation.

 

Why do I agree with such an academic proposition? I have always had a point of view that we must base ourselves on my own cultural soil, continue the traditional context, and create my own modern and contemporary art. From the perspective of modern and contemporary art, since the "Eighth Five-Year" trend of thought, our modern and contemporary art has been imported from the West. By the 1990s, many people raised the question whether only European and American modern and contemporary art is the standard modern and contemporary art. Art is such a model. No, that kind of cognitive concept is very narrow. We have a lot of resources, and we must make full use of our cultural resources to create our own modern and contemporary art. Animation is also a modern and contemporary art style. Why is it possible to produce such an artistic style of animation in modern society, and it spreads so widely that it is suitable for all ages and women and children? It is very consistent with today's trend of the times and the way of life of modern people.

 

Now everyone has the impression that Japan is a big animation country, and their cultural output is largely their animation. Our animation seems to have no place in front of the Japanese. I just turned it over and I saw Chen Xiaoqin’s article. She said that the glory of Chinese animation is no longer there. I understand very well that we have the conditions to create our own contemporary animation. The problem is that we have lost our culture for a long time. Self-confidence, no cultural awareness, how to use our traditional cultural resources for new creation is indeed a big issue for us.

 

A reporter interviewed me two days ago. He said Mr. Pi, do you think you want to establish the style and system of Chinese contemporary art? I said, we must first create real contemporary art. This contemporary art is local and quality, which is the first. If you are local, local, transformed from your traditional cultural resources, and continue your traditional culture, then it will have an international influence. We should not put Chinese in the first place, we should put real and good animation, and this kind of animation is connected with our culture and our modern and contemporary people’s life perception, which is what contemporary people like to hear and see. I think this One point is the most important.

 

My view of contemporary art is the same for animation.

 

After seeing this exhibition, I am also very excited and excited, especially after seeing the works of some young anime artists, I think our animation is still promising. thank you all!

 

Li Gongming (Professor of Guangzhou Academy of Fine Arts):

I am studying the history of Chinese art, especially the history and art history of China in the 20th century. Therefore, in my impression of animation, I regard it as such a historical course of a nation over the past century, through such a special medium as animation art. It reflects the soul of a nation, including all the pain, humiliation, hope, etc. it has suffered.

 

I started to have more contact with comics when I started to do some research on Liao Bingxiong’s comics a few years ago. I think there may not be an artist whose thoughts are ups and downs and finally reached a state like Liao Lao, so I am very happy. In the exhibition, I saw Liao Bingxiong's cartoons appearing in it. In the 1960s, such anime works as "A Harass in Heaven" and "Little Tadpoles Looking for Mother" also gave me a strong memory of childhood growth. Even after the "Cultural Revolution", the song of "Little Sisters of the Prairie Heroes" was the melody we circulated all day. What's the problem here? In such a cruel political environment after 1849, the hearts of the entire Chinese nation have been devastated and traumatized. With their conscience and their outstanding artistic talents, our animation artists can bring to the Chinese people in such a space. Such happiness and joy of mood, it has to be said that it is a miracle. If we see "The Wanderings of San Mao" from the perspective of suffering, is it the most vivid and down-to-earth image representative of such an animation of the Chinese school in the past?

 

Feng Yuan (Professor of Art Design Department, School of Communication and Design, Sun Yat-sen University):

 

I will discuss the Chinese school in world animation from two aspects. The first one is to discuss the development of our cognition. The source of our moving images is related to our cognition. The second is Chinese animation and politics under the modern framework since there were movies in the 20th century.

 

The issue of the Chinese school of animation is actually placed within the framework of the modernity of the 20th century. The duality of early technology and performance of this framework developed after the 20th century. The premise of this development was that the film was invented. Therefore, for the first time, mankind was able to create a new technology that could convey the inner world. Movies are also brought about by modernity, brought about by a great technological leap. On the other hand, we see the relationship between some important cultural and political tasks brought about by the 20th century. Modernity has created an important concept related to different cultures, which is nationalism. When a technology-centric culture is expanding forward, different cultures must re-establish their own positions and their own positions in response to this culture in a nationalist way. From the first half of the 20th century to the early second half of the 20th century, and history lasted until the 1990s, one of the core issues in Chinese culture was nationalism. This is the same in all aspects of culture, as can be observed in art, music, and literature today. The phenomenon. I organized my students to do a dissertation on New China Animation. What I discussed was how nationalism dominated or restricted the cultural products of the time under a large evolutionary framework.

 

Discussing the history of China in the 20th century, the first half of it is nationalism. The characteristics of nationalism, I think many animators present here today, including the older generation of animators, how do they express their national symbols and cultural systems to distinguish them from the United States, Europe, and Japan. This task can be said How to use new technology to reproduce the national language so that the nationality can be identified. In other words, modernity has created a condition. The best example is the World Expo. The World Expo is to create its own national image. The main goal is that I am me, not you. There are such things as "Havoc in Heaven" and "Little Tadpoles Looking for Mother". They all want to create national representations that can be clearly identified in the various cultures of the world. This stage has its very profound historical causes. I will not expand on this point.

 

Finally, I just want to say that today is an era of globalization. After the era of globalization, the conditions of nationalist production and reproduction have been changed. This historical condition has undergone major changes. In today's era of globalization, how to truly consider the historical reasons and the dilemma we are facing today. I don't have a specific answer. I think the answer lies in many creators, many newer generation creators, the new generation of creators may be able to give an answer unexpected in the 20th century. This answer lies in the next 10 or 20 years. Animation can best encompass new technologies, and it is also most likely to become a goal for the next generation to make efforts in a new cultural direction.

 

Chen Xiaoqin (Art Critic, founder of WeChat public account "Art Dimension C"):

 

Teacher Feng Yuan said that discussing the "Chinese school" in the context of globalization is a kind of nationalism, yes, but he used the idea of ​​"backward" to describe it, which is a bit harsh on the "Chinese school" of animation.

 

The "Chinese School" represents a national spirit, the spirit and temperament of the Chinese. A value. But many people don't understand this concept thoroughly. For example, when China participated in the Venice Biennale in the 1980s, it used embroidery and paper-cutting to participate in this cutting-edge contemporary art exhibition. This is a ridiculous thing in the history of art. Therefore, in the eyes of many contemporary art, the most forward-looking art field, the word "China" will arouse subconscious antipathy, "Huh, so old-fashioned".

 

But for animation, a field of art that produced so many glories in the past, it is very important to propose the "Chinese school". Now when it comes to animation, they are all Japanese and Hollywood. How can there be any position in Chinese animation? Of course, this has something to do with the Chinese animation industry not doing well enough. Even if the country vigorously supported the animation industry in 2006, the money was invested, but the effect was not effective. Everyone was very impetuous. They did not regard animation as an art, but a tool to "make money". It has a vicious effect of pulling out seedlings to promote. I watched the "Pixar 25th Anniversary Animation Exhibition" in Hong Kong a few years ago. It is very documentary and academic. After reading it, I communicated with Pixar staff. You admire their attitude towards animation "Slow work and meticulous work". There is a kind of Art is called "not in a hurry".

 

Now this exhibition presents more than 600 manuscripts of works. As a foreign aid, I am a bystander to help sort out the materials of the entire Chinese and foreign animation art exhibition and clarify the relationship between China and foreign animation. The idea I put forward is that the meaning of the exhibition is that the meaning of the exhibition is not only to awaken everyone’s drinking water and thinking about the source” In addition, don't overemphasize China's past glory, but think about how it will go in the future. In the way of presentation, it must be academic and contemporary. The curator also agrees.

 

How does the curatorial present the "Chinese School"? In January 2015, in the 80th year of the publication of "San Mao Wanderings", its French version won the highest award for comics-the "Cultural Heritage Award" at the 42nd Angoulême International Comics Festival in France. This is also the West's recognition of the "Chinese school" (whether it is techniques or values). Under the diversification of globalization, China should find its own positioning and characteristics, digest and chew it up. It has a Chinese temperament, but the way of presentation is very international. It is not just past embroidery and paper-cutting. Of course, embroidery can also be presented very contemporary. This requires a process of digestion. Can you say that "The Return of the Great Sage" is not a film that expresses the national spirit? Wu Chengen wrote "Journey to the West" more than 500 years ago. The image of Monkey King is a typical Chinese product. Otherwise, the father of Japanese animation and animation Tezuka Osamu would not paint the scene of Astro Boy and Monkey King "hugging". He influenced the development of animation in Japan.

 

Jin Cheng (Deputy Director of Animation Art Committee of China Artists Association, Chairman of Guangdong Animation Artists Association):

 

I just mentioned that "San Mao" won an award in Europe. This incident also brought out another thing, that is, the traditional Chinese comics. The traditional Chinese comics also arrived in the 1980s, and then the scenery disappeared. At that time, all the art was the same. He was born in comics and all created comics, so at that time, the level of comics was very high. In fact, including the comics of He Youzhi now, we only knew that he won the prize in China's "Great Changes in Mountain and Country", and he won Chinese Culture and Art. If the government or the Ministry of Culture awarded him the Lifetime Achievement Award, he would think that the honor is high, but in fact the French, their cartoons are so powerful, he regards He Youzhi as a sage, and thinks He Youzhi’s comics are an international language. Instead, we returned to China, but we in China feel that it is a human book. The traditional little human books of the past are now only collected, and no young people have read it.

 

But this kind of comics is seen in Europe. Today European comics and comics are the same noun and have the same meaning. He thinks that Europeans can accept, that is, among the countless types of comics that are eloquent, Chinese comics must be one of them. A very special type. It exists in the past, exists now, and will always exist in the future, but it seems to be abandoned by us Chinese, but Europeans don’t think so. Including France’s Dagota also introduce He Youzhi’s works, the French version , I am also communicating with Elder He on this matter recently. But the Chinese themselves don't have many paintings. Westerners hope that what China eats is not fast food, but nutritious meals. It is precisely that we Chinese do not have nutritious meals now, and China is now all fast food.

 

Jin Guoping (Chairman of Global Digital Media Technology Research Co., Ltd.):

 

After the end of the "Cultural Revolution", when I was very young, I was fortunate enough to be able to step into the gate of the Shanghai Fine Arts Film Studio. I left in 2005 and continued to work in this industry.

 

I was very impressed that the director Te Wei gave a lecture in the United States in response to a lecture from the United States, and brought a group of short films and some films produced by the Shanghai Fine Arts Film Studio in the 1950s and 1960s to lectures and screened them on-site. These films. A foreigner stood up and said something very exciting, saying that Disney should be ashamed of seeing these great films. To put it more extreme. I was relatively young at the time, and I wrote a small article specifically, "Scent of Flowers Inside the Wall", because art films are not taken seriously in China, but they can get such a big affirmation overseas. Later, the special director Wei also contacted me, saying that you should never write that sentence again. That was the opinion of a few foreigners.

 

And I personally encountered such an incident. When I was the director of the factory, I received an American producer and played "Muddy Flute." After seeing this, the American producer was very surprised and said that this film is Did you do it? I say of course. When did it do it? the 60's. He could hardly believe that it was really a very great work. Why didn’t this form of art film go on? He felt unimaginable. In the 1960s, China’s film art accomplishments could reach such a realm. He felt that Very surprised. I very much agree with what Dean Sun said that the Chinese spirit is the soul of our Chinese school.

 

4. Purpose of creation: There is a lack of creative attitude of "using works to humiliate you".

 

ATui (Taiwan · China cartoonist):

 

这是一个非常有前瞻性的概念的展览,它的作品跟展览的结构非常精彩,还有概念,有原稿,重新回到所谓的手稿部分,让观众可以直接借由创作的热血的气氛,直接感受到笔触的感觉,这是我对这个展览觉得最棒的地方。放,我们今天能够接受到中国的卡通作品,包括我在80年代、90年代看到的水墨,竟然这么有魅力,很古代的感觉,动起来的时候特别有魅力,对中国的卡通非常向往。还有《黑猫警长》,这些都是非常鲜活,能够成为具有国际水准的创作。

 

我自己算是第一线的漫画家,我从80年代开始参与台湾漫画的编辑工作。编辑的工作让我学到了很多,我们发现原来我们都是松散的,我只能串联起来一些跨界合作,比如我和唱片界很熟,我们来做一个唱片结合,或者我跟文学界的几个朋友来做编故事。当时很开心,各行各业都提出他不同的想法,然后做交流。到了现在,我大概隔了16年以后,今年做了一本新的漫画,也是我改变了原来的思考。网络平台免费化会冲击到所谓的漫画产业。台湾产业大概90%多都是进口漫画,我们非常热爱进口文化,几乎忘记了自己有什么。

 

很多前辈给我们很多的启发,包括王泽教授,他把《老夫子》变成品牌、变成艺术,让这个漫画往更高的方向去走。我们看到他做的一个陶瓷的创作,从平面变立体的画作,需要很大的功力才能做到不变形。我们大家都很想知道解药,可是我自己也不知道。我做了很多玩具,那是因为漫画箫条之后强迫转业,我发现做一个玩具的预算远高过一本书,海外有《蜘蛛峡》、米老鼠、史奴比等玩具,它的作品都是和角色联系在一起的,可是台湾的创作会绕很远,到最后我们都记不起角色的名字。

 

比如我去大学教课的时候,我说调查一下有没有人愿意当漫画家,结果没有人举手。他们说想做设计师、摇滚歌手,或者导演,很风光、很气派。可能大家没有理解到一件事或者忽略掉一件事,欧、美、日他们的动漫强是来自于他们漫画的根基经营得非常久、非常扎实。叫得出名字的蜘蛛人也经营了两三十年,50年代就有这个雏形,然后再慢慢把动画做起来。

 

第一个就是把漫画品牌化,要有专业经纪人。第二个就是资深的漫画家驻村,早期的创作者像米罗他们都聚在一起,一起讨论,骂对方也好,笑对方也好,可是最重要的事情是叫做“用作品来羞辱你”,台湾的情况比较多的是舌战多于实战。台湾这几年的漫画环境很窄化,所以我大部分还是做广告、插画、专案或者展览,但我很想画画,我5月向爱立信提出了画漫画的想法,我觉得漫画不一定由出版社来出版的概念。

  

Wang Ze (famous cartoonist in Taiwan · China):

 

What is the Chinese spirit? The last thing I said was eating noodles and dumplings. In this land of China, how many things have come out for thousands of years and thousands of years. I found out a lot of things from historical sites, art galleries, museums, and libraries. After reading it, I was shocked and sighed. Three years ago, two years ago. How come out so many things thousands of years ago, these things are really incredible. The Chinese spirit is in this land, and the things made by this race that have been bred for thousands of years have left us with much inspiration.

 

We draw comics. Comics are drawn one by one. There are comic strips and individual ones, in various forms. Basically, if we use theory to analyze, comic strips are like a movie, and they move. , While the solo painting is static. From my own point of view, I don’t think it’s right. It means that the dog and the comic character that I drew this single-frame static cartoon is static on the paper, but I’m going to see and go. When painting, it can inspire many things in your heart, so it is dynamic. We look at a great oil painting and mural eight hundred years ago. When we look at it, we can appreciate the skill of the painting and a lot of artistic expressions. That painting can immediately make you imagine that this person is there. The chair is seen by the painter, so what does he usually do, does he brush his teeth, does he go to the toilet, where does he sit for dinner, and if he sits for so long, will he move? I think of these. In other words, the work itself is static, but in our human experience, it is definitely not static.

   

Er Dongdong (Chen Hua, famous cartoonist):

 

The Chinese school of animation in the world, let me change it, and the exploration of the Chinese school of animation in the world.

Why do you say that? I used to draw caricatures and met my teacher in 1992. He led me to say that the revolutionary situation has changed, and I must draw something that will be oriented in the future and adapt to the market. Inspired by him, I began to explore a superficial way of Chinese animation and manga. I watched a lot of American animations of Mickey Mouse and Donald Duck that are very pleasant. I thought I would paint Chinese animals, people’s rats, people’s cats, and people’s dogs. I have been painting until now, 23 years now. It’s almost 50 when I painted it. I went through a very painful experience during this period. Where is the market? I have done a lot of exploration, but I am still exploring on this road today.

  

 

5. Education and industry: Art museums should pay attention to animation long ago to attract more young people!

 

Chen Zanwei (Director of Animation Teaching and Research Section of Guangzhou Academy of Fine Arts):

 

I express my joy and excitement. I saw those animations and comics since I was a child, and saw the original works today, I was really excited. The feeling of watching that movie for the first time as a child suddenly seemed to come back.

 

Emphasizing Chinese animation, its connotation should be the piece of Guoxue. Like watching an ink-and-wash animation, behind it is all the designs made by the ink-and-wash people. The precipitation of this Chinese culture is very deep. This area may be in terms of creation, and we may want to find ways to strengthen it at the level of institutions in the future.

 

My identity is quite special. On the one hand, I am the secretary general of the Animation Artists Association, and at the same time I am the secretary general of the Guangdong University Film and Animation Association. In our education industry, we are actually very embarrassed. Our Guangmei Animation is a professional founded in 1999. It has won the gold award for the best short film for three consecutive years, and the best work award for the Asian Youth Animation Competition for three consecutive years. When communicating with the school, including communicating with Peking’s colleagues and communicating with Teacher Sun, we feel that at present, it seems that academic students are great when they are creating, and they can also get many awards after participating in the competition, but after this work is awarded, it has not been transformed. . Students working behind closed doors are very unique in artistic modeling, but it is more difficult to transform them into business. I talk to many companies about this kind of cooperation, but what about the cost? It will cost a lot of manpower and financial resources to make this kind of film together with the school. then what should we do? Animation should continue to cross-border next, and animation is already very cross-border, and games are an extension of animation. A friend of mine has started to get venture capital and is already in production.

 

Liao Xiangrong (Secretary-General, Animation, Digital, Media and Education Commission of Guangdong Education Department):

 

Today's big exhibition really gave us a very big stimulant for this industry. Let me talk about the situation of animation in school. There are no animation exhibitions or manga exhibitions in the school. The design category is a separate design category. There are animation competitions in animation. There are many competitions, and there are really few exhibitions. Second, because of the first-line teaching position, I will immediately think of how to embody our Chinese school and the embodiment of style in student works. Young people nowadays, especially in the 80s and 90s, grew up watching Japanese comics and American comics. The animation admission score of the Guangzhou Academy of Fine Arts is very high, but the works are based on the style of Japanese comics and American comics. Where is the animation style of our Chinese school?

 

However, it is not easy for our Chinese school to find reference materials on the Internet. Like the materials exhibited today, we have seen it for the first time, and there is no very systematic introduction on the Internet. Second, the development of Chinese animation in the past few decades has been seen by everyone. The development has been very slow, which has led to the popularization of Japanese manga and American manga in the entire film and television. It is easier to refer to and find information in this area. Just ignore the Chinese school. From this point of view, I think we educators in particular should have the responsibility to pass on this teaching or to pass it on.

 

Jiang Yue (Deputy Director of Guangdong Academy of Contemporary Art, Former Deputy Director of Guangdong Art Museum):

 

This exhibition is undoubtedly the most interesting animation exhibition since Guangdong Art Museum. Regardless of the scale, conception and curatorial ideas, it is very complete and very large. This is an exhibition of great academic value. I want to talk about the relationship between animation and art museums. The vision of the art museum director determines the positioning and taste of the exhibition. Art museums have not yet fully demonstrated this industry, and many museums will think this is a game for children or young people. Art museums should have paid attention to the field of animation long ago, and planned anime exhibitions to attract more young people and cultivate potential and follow-up audiences.

 

This is a very important direction for the future development of the museum, and guide young animation lovers to study at the museum. Now, curator Luo Yiping is cooperating with Jincheng, which is a very meaningful exhibition.

 

Tian Shaoxu (Professor of Advertising Department, School of Communication, Shenzhen University):

 

First, this exhibition is the domestic animation art exhibition with the highest level, the largest scale and the richest content I have seen, and it is also a rare and original animation art feast.

 

The second point is that compared to other animation activities, I think this exhibition highlights the characteristics of original art. It showcases a large number of original works by masters. The interactive link set up at the conference is that comics are full of originality. It’s great. Let the audience, especially teenagers who love animation art, understand the creative process of anime art films, how to transition from original original animation or manga to animation, so that teenagers can get close to the master’s work. Local contact is of great significance for cultivating future animation talents. This is also in line with the general environment of mass entrepreneurship, innovation and the current national colleges and universities innovation and entrepreneurship education.

 

The third point is that this exhibition takes the Chinese school of animation in the world as the theme, highlighting the academic quality of Chinese animation art, and has played a directional guide for my country's animation creation. my country's animation needs to be based on the world's animation art forest, what does it rely on? Does it rely on sophisticated production or large capital investment? Or is it something else? This exhibition gave a resounding answer, which is based on the Chinese spirit of the Chinese school.

 

We often talk about the animation industry, but we rarely speak about the art of animation. This exhibition evokes the aspirations of the artists. The reason why Man has become an industry must be built on the solid foundation of animation art. It can be said that there is no animation art or the elaborate creation of animation artists. The so-called animation industry can only It is a castle in the sky.

  

Ye Zhenghua (Associate Professor of Guangzhou Academy of Fine Arts):

 

I have been following Mr. Jin Cheng, from the first China Animation Art Exhibition in 2009, to the support of animation since the 17th National Congress of the People’s Republic of China in 2012, and then to the Chinese School of World Animation Exhibition. If these three exhibitions come at the national level It is said that it is almost the largest animation exhibition. This time the exhibition is more about the animation art, so I think this is a very good new direction.

 

The exhibits we saw this time were very good. We changed our previous understanding of animation and collection methods, and found that it can enter a collection circle to operate. The collection of manuscripts should become a very important collection item in China in the future.

 

We now emphasize that industry and art are dichotomy. When we talk about industry, we don’t talk about art. In fact, I personally think that if the Chinese animation school is to be introduced into the contemporary art circle in the future, it can have a richer diversity. And its new sense of life. In this regard, Mr. A Tui and Mr. Wang Ze have done very well. Such a historic old master brand is completely integrated with contemporary art life and art forms. The exhibitions of the old masters that have been done several times are very good. The establishment of the so-called rules of the game system of modern culture is torn down. In the future, if we really want to push the animation art into a broader space, we should cross-border and enter into a larger level of contemporary art, not just in a so-called simple animation industry or what kind of one. In terms of the research method, it is only because of this.

 

Animation is not an art form. Put it into anime with oil paintings, Chinese paintings, sculptures, and prints. No, animation should be an aesthetic. I can use any form of animation. I also use oil paintings and paintings. Sculpture and animation are combined, and I hope that we can do a better job in this aspect in the future. The reason for the same work in China, and why the so-called special artists' works cannot be sold at a price, is because our collection system has not formed a good backing, so there is no foundation.

 

——————————

   

Sun Lijun (Director of Animation Art Committee of China Artists Association):

 

Regardless of the seminar or forum this afternoon, I wonder if the word "feelings" can be used instead. If we have more people in the animation industry, and talk about this industry, this career, and this art more for the sake of feelings, I believe that China's animation will be brilliant and unwilling. Everyone is too impatient and too eager for quick success, so I want to rely on animation. To make a windfall, this will not be possible in a hundred years.

 

Several key words appeared in our discussion today. The first one is team. I very much agree with Teacher Chang. As a veteran, Mr. Chang Guangxi shared the importance of the team that he shared with us. This coincides with each other. China is a large agricultural country, and I still think it is a semi-agricultural and semi-industrial country, and it is really far from industrialization. In the past 35 years, perhaps our closest to us is the processing industry, but can our culture be processed? Not possible. So how important the team is in an industrial civilization period, if art is produced into a product, it really requires the integration of excellent people in every link. This point is indeed worth learning from Japan, the United States, and Germany, not only in the animation industry, but also in Chinese football.

 

The second key word is technology. Not only did I mention technology, but some teachers also mentioned technology. Animation is only 120 years old to this day, and it is not until today that the invention of film gave birth to animation. Although we had the enlightenment of animation before the birth of animation and before the birth of film, what I want to say is that as far as the animation industry is concerned, if we have not learned the technology to our home, how can we talk about the development of this art? Otherwise we will become a cultural heritage.

 

The third key word is concept. We know that two or three-year-old children are also the main consumers of animation, and they are still consumers until they are 60 or 70 years old. We say that the main age of today's movie is 21.8 years old, but the return of the Great Sage has very importantly satisfied the main consumer group of 21.8 years old, so the concepts of animation and animation are also changing at the same time.

 

The fourth key word is performance. Very important, if the very important successes and achievements of "Monster Catch" and "The Return of the Great Sage" are not in the technology or in the story, it is very important that the performance is regarded as a key completion in this film. Although it is three-dimensional, it uses the technique of improvisation for the first time, so its movements are smooth, and the story is also smooth. Even the characters are like such a character, not just moving. This aspect is also an improvement of our progress. aspect. Did you have it before? It can't be.

 

...

 

The fifth key word is culture. We also mentioned that culture is a point of view that supports the longevity of this art. We rarely hear about marketing and industry, which is something I personally feel very happy about. Finally, what I want to express is that art is the pursuit of individuality, and business is precisely the pursuit of commonality. How to achieve a win-win situation? It is impossible for us to solve all the problems. We must calm our hearts down in the art creation industry. To sort it out in the theoretical construction.

 

On behalf of the China Animation Art Committee, I have made such a meticulous preparation for this exhibition with my colleagues from all walks of life in Guangzhou. The time is very tight. I would like to thank you again. I hope to support our Animation Art Committee a lot in the future. Excellent animation works of the Chinese school in our minds.

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