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Comprehensive Painting and Animation works of 13th National Exhibition of Fine Arts: Communication about Integration and Innovation of Animation

(Summary description)2019.9.8

Comprehensive Painting and Animation works of 13th National Exhibition of Fine Arts: Communication about Integration and Innovation of Animation

(Summary description)2019.9.8

Information

Title

Communication about Integration and Innovation of Animation


Time

2019.9.8


Location

Guangdong Mueum of Art

 

Keynote Speaker

Tsukioka Sadao(President of Japan Animation Association)

Sean Tilling(Famous Canadian animator)

Jin Cheng(Deputy Director of Animation Art Committee of China Artists Association)

 

Host

Zhou Zheng(Dean of Animation Department of Guangzhou University)

    
 

Zhou Zheng:

 

Thank you, everyone, good afternoon, and welcome everyone to such a lecture on animation. Before we start, I will share a short story with you. Yesterday, there were a lot of people in the exhibition hall. I don’t know if this is the most organized by Guangdong Art Museum. Before the exhibition, I saw a lot of people discussing in front of the painting. I like to eavesdrop on what people say in front of the painting. I finally saw an object. I decided to follow him, two The little friend kept whispering in front of me. I couldn’t hear it clearly. It seemed to walk a little bit, but I was afraid of breaking the safe distance. I heard a sentence clearly. A girl said in front of the screen that I really like this story. I was taken aback. This is the Guangdong Museum of Art. Why do audiences say they like this story when they look at a painting? But my reason tells me that this is an animation exhibition. Isn't it normal for an audience to say that he likes a story? In the art museum, we discuss the style, genre, or many art theories of art, but what can an anime exhibition bring to the art museum? Perhaps the first thing that can be brought is the story. There are answers in the story. This may be the most story-telling exhibition of the exhibition held in the art gallery. So I think all the readers and audiences of this afternoon will be in such a The place, what I can hear, and what I share is more of the stories passed by the guests to everyone. The stories have answers. We have so many stories in Guangdong Art Museum in the past two days. The long history and civilization have become stories, your life Experience has also become a story. It is very important that these stories of ours contain our pride in this era and exploration of human nature. The stories constitute an exhibition like ours and the discussion of our integration today. First of all, I want to review with you Now, our Chinese cartoons were actually known as fine art films at the earliest.

 

Our most famous animation production agency in China is called Shanghai Fine Arts Film Studio. Comics were first called comic paintings or humorous paintings. Today we use another word called animation. This word has nothing in China for 20 years. Slowly it became a household name. Today, the word seems to be a word that everyone is close to in Chinese society. But the word was initially biased. I remember the first time I went to an academy to teach animation in another major. The teacher came over and asked me suddenly, where are you from? I said I was here to teach animation. He suddenly said to me, it turns out that you are teaching animation. Come here, my computer is broken. Help me fix it. Does animation repair the computer? It seems that we had misunderstood this term at first, and we had narrow prejudices, but today when we are holding an animation exhibition at such an international art museum, the term is full of glory, and we are no longer repairing computers. During this process, I think that several guests today are witnesses of our time. We are very fortunate to hear how such a word can bring us glory in different countries, different cultures, and different times.

 

Maybe I want to introduce our guests today. First of all, I would like to introduce Mr. Tsukioka Sadao. Mr. Tsukioka Sadao from Japan has many different identities. First of all, he is an animation producer and assistant of Mr. Osamu Tezuka. This is a household name in our country. The name that exists in the hearts of our animators, Mr. Osamu Tezuka’s assistant, and he also served as the role and art style of many cartoons. The most important thing is Mr. Tsukioka Sadao. He is also a very senior animation education. Workers, triple identities. Soon we discovered that today’s guests are all multiple identities. The next one we want to introduce is Mr. Sean Tilling, who is the director of the animation and visual effects department of Shanghai Vancouver Film Academy, and he is also an animation creator. He has served as the chief artist of many animations and has won many awards. He has provided animation services to many animation organizations. Of course, he is also an educator and a senior worker in animation education. Mr. Sean is from North America. Mr. Oka Sadao is from Japan, and the third person I want to introduce is Mr. Kinjo.

 

He has a lot of titles, and we see that there are a lot of his titles. When we introduce him today, don’t read his title. I have known him for more than 10 years. I have three titles for him in the past 10 years. I want to share with you. , I first called him Mr. Jin. He was the boss of a comic company and a leader in the industry. He was called Mr. Jin. He has served as the founder of many industry associations. We called him Chairman Jin at that time. The name has disappeared in the past two years. We now call him Teacher Jin very kindly. In addition to the above identities, he has more It is a promoter of our animation industry. He is also a part-time professor in many universities, so we slowly and peacefully call him Teacher Jin. The three gentlemen will suddenly find that they come from different countries and different cultural backgrounds, but they have such a suitable identity at the same time. , Education, industry, creation. There are clear manifestations in the three of them. The topics shared today have their own styles. But the three topics seem to have moved in the same context. Someone first told me that they wanted to share the history of animation. Is the history of animation meaningful? Are we here today to dig out story reasoning? It is not. When looking for the history of animation in their own country, it happened to be our ancient Chinese poems. "Ask the channel how to be so clear, only the source of the water comes." We regain our original intention and seek the sincerity, which is to accumulate our strength for today's animation in China.

 

In fact, this is our entire dialogue activity. Our intention is here. Different countries use North America and Japan’s international perspective to discuss the issues of Chinese animation and animation, which happens to prevent us from being in this mountain and bringing us different perspectives. , "Looking at it as a ridge and a peak on the side, the distance is different." In the end, Mr. Jincheng will share some of his experience with us. During his speech, he himself used another collection of poems called "The little building listens to the spring moon overnight, and the world is full of apricot flowers in the Ming Dynasty". He was a witness of Chinese animation in the 1920s. He wanted to share the comfort of Xiaolou Chunyu. He also used such verses to look forward to the blooming of Chinese animation flowers tomorrow. Therefore, in front of the three lines of poems, let’s take a look at these 20 lines. In the course of the year, in the course of one sentence after another, I will share the touch that the three guests can bring to us. Let's not gossip. First of all, I would like to invite Mr. Tsukioka Sadao from Japan. Please applaud.

 

Tsukioka Sadao:

 

Hello everyone, this is Sadao Tsukioka.

 

Although I am a Japanese, I will come to China about twice a month this year. Now there is no clear recognition that I am Japanese. The topic I am sharing today is the origin of Japanese animation. I want to say that I came to China 13 years ago. In recent years, through my various studies in China, I have increasingly felt that the origin of Japanese animation is in China. For example, Japan's first animation is called "The Legend of the White Snake", and its original form is a Chinese story. There is a movie in China this year called "The Origin of the White Snake". Both animations are based on the same story. Why did Japan create animation based on Chinese stories 60 years ago? I think this is a question. I was born in 1939 and I am 80 years old this year. After I graduated from high school, Mr. Osamu Tezuka invited me to help in his studio, so I joined his company.

 

At that time, there was a Toei Animation company. He approached Osamu Tezuka and asked if he wanted to make an animation. Mr. Osamu Tezuka was drawing the comics of "Journey to the West" at the time, and he was considering adapting the comics of "Journey to the West". Into an animation. Of course, Mr. Osamu Tezuka was already part-time at that time, and he had many jobs, as well as the work of Astro Boy with Iron Arms. At that time, he sent me as his agent to Toei Company to do follow-up work. In fact, I was a fan of Mr. Osamu Tezuka when I was a kid. I wrote a fan letter to him when I was in the fourth grade of elementary school. When I was a child, because I liked Mr. Osamu Tezuka's works, I copied his paintings and sent them when I wrote to him. So Mr. Osamu Tezuka actually witnessed my paintings from childhood. So here I just want to talk about imitation. I imitated Mr. Osamu Tezuka's paintings at the time. The paintings were more similar, which was recognized by him, so he sent me to the Toyin Company to do what he was supposed to do. The painting on the far right that we see on the PPT is my painting, and the painting on the left is by other authors.

 

I would like to say here that the first to third animation works of Toei are actually depicting the story of China. This is it. Today, a teacher just happened to ask me a question. When making anime, Japanese people must continue their own tradition and have their own characteristics like China. When making anime, Japanese people do not have such a strong sense of the country. . So we used to make Chinese stories and adapt it to animation without any hesitation. The subtitle of my page is that the origin of the story is in China. Because I have gained a lot of experience after I came to China, and these experiences have made me more and more aware of the fact that so many things originated in China. Especially related to culture.

 

The first is fine art. For example, the origins of the paintings that can be classified as Japanese paintings are almost all in China. If we go into it carefully, we find that the origin of Japanese painting is basically China. The art, fashion, music, animation, food, architecture, matcha, wine, and Buddhism that we see on PPT now. These were all passed from China to Japan. For example, matcha is the Tang Dynasty that originated in China. At that time, it was born in China and then spread to Japan. Japan cherishes everything from China and will not abandon it, but it may have been gradually forgotten in China. When you come to Japan, you will find many things about China in the past. The names of some of the works I wrote below, for example, "Princess Iron Fan" was the first animation created in China in 1941. Japan’s first animation, The Legend of the White Snake, was actually produced by Japan’s Toei Animation Company 16 years later.

 

Maybe the topic is a bit jumping. We are introducing "Space Battleship Yamato" below, which is the first work that caused an upsurge in animation in Japan. Now I want to introduce "Dragon Ball", why I choose "Dragon Ball" to introduce on the PPT, because it is an original manga, and later transformed into an animation, and adapted into a game, there are many extensions, I choose him because he is The most profitable work, his record has not been broken by other works.

 

Then, if we review the history a little bit, we can see that the first is the first animation works created by the two countries. These are stories about China. The most profitable work "Dragon Ball" is actually a story about China, but many young people in China People are not familiar with these primitive allusions. I think our topic today is about animation. I still want to talk a little bit about painting, because painting is called animation when it moves.

 

Many of our paintings in the Tang Dynasty were introduced to Japan. One of the most famous ones is "Beauty Pictures". After being very popular in Japan, many folks also followed to paint. The ink paintings are also very popular in Japan. Many homes also use animation to decorate them, and I also hang them in my own home. Song Huizong I think everyone knows that his painting skills are very superb, and several of his works are now in Japan. In fact, I think Song Huizong's paintings have had a great influence on Japanese painting. Above the PPT is the "Beauty Picture" from ancient times. The topic may be a bit jumpy. Japan now has a culture called Moe. I would like to say that if we trace the origin of this cute culture to him, he may have to trace it to Ukiyo-e, and then trace the origin may also trace to the "Beauty Painting" that the emperors like in the palace.

 

Just now the host, Mr. Zhou, told a story. He heard an audience sigh in front of a painting and said that he was attracted by a story. I agree with this point of view. Of course, without a story, it would not be an animation. The stories I wrote here at the bottom of my PPT are representative stories. There are many Chinese stories written here. We Chinese are familiar with these stories. Of course, I am very familiar with and like them. In fact, these stories also laid the foundation for a lot of Japanese animation. Japanese culture, for example, will be influenced by "Strange Tales from a Lonely Studio", and several novels are created by it. Because today’s time is limited, I will omit a lot of content. I will now go directly to the last page of the PPT. After I have been in China for a while, I will start to think about a question, why the cultural origins of the two countries are the same, but why is this happening now? Big difference.

 

I think the biggest difference lies in the story. For example, the important component of culture is animation. Animation is composed of stories and paintings. There will be a big difference in stories. I am talking about experiments. Movies, he was born in the 1960s, and such content began to appear in the 1960s, and he is now mainly presented in the form of short animations. At present, the main teaching methods in Japan are to experiment with the techniques of short film animation of the film school, but the film animation works that we see in movie theaters and on TV do not belong to this category. Japanese paintings will exceed 30 minutes in length. 'S films are called feature films, and these are basically entertainment-oriented works. In Chinese and Japanese universities, it is basically not possible to teach this kind of entertainment-oriented techniques and methods. For example, the words of the familiar Miyazaki Jun and various Japanese animation masters are mainly about storytelling, and more stories are created for entertainment.

 

Then I think there is a big difference between Chinese and Japanese animation, which is the difference in story. In terms of painting techniques, I feel that China is actually about the same level as Japan, or even surpassed. For example, I have seen the paintings exhibited here at the Guangdong Museum of Art in the past two days, and I feel that the level is very high, and Japan cannot be compared. What is the difference between the animations of the two countries? There is still a difference in the story.

 

Regarding the story, there is an English spoken that talks about the arrangement of stories and plots. Japanese animation is very good at this. We have said so much before. Japanese culture basically comes from China, and many elements are absorbed from China. After we take it, we attach great importance to him, and Japan is very good at processing these stories, just like a chef. All kinds of cooking, all kinds of cooking, to improve the re-arrangement of these stories, the creation is very exciting. For example, the original Dragon Ball story we introduced before is Journey to the West. For example, it is "Dragon Ball" or "Space Battleship Taihe". If we only look at its paintings, these works may not be associated with "Journey to the West" because of the original Japanese story about it. After drastic changes, when we really want to trace the roots, its original form is based on "Journey to the West". I have written these three points on the last page of the PPT. One is the theme, the second is the story, and the third is the character. In fact, I learned these three points from a script writer. The script writer is very good at writing moving stories. I once asked him, what is the most important thing to create animation? He told me these three points.

 

In fact, each of these three points is very important. During the teaching process, I will also give it to the students, but there are fewer people who really understand. For example, in the second point, I wrote fables and novels after the story. What I want to express here is that when creating stories, I think they are mainly divided into two types, one is fable stories and the other is fiction stories, and these two types are opposite. For example, the word of the third character originally came from English (English spoken). But if we look at Old English, its corresponding meaning should be character. When we explore the language of American English, it corresponds to personality, especially like Disney animation. In fact, they came to invent the word. When the characters were first designed, First of all, visually attaches great importance to the design of characters, and Disney first used this term. The role of the character is not simply to show the image of the character on the screen, but more about his character, how to show the character's charm, including what we say Disney is very good at visual creation, more is to show the character of the character. Nowadays, many cartoons or animations may be close to Japanese Manfeng or Meimanfeng when creating character images. When creating character images, we still need to pay attention to how to express the true colors of the characters. Because of the limited time today, I can't expand much of my content in detail. At the end, I still want to tell you the three most important elements of making animation. The above is my speech, thank you.

 

Zhou Zheng:

 

Thank you Mr. Sadao Tsukioka for sharing the source of Japanese animation for us. The stones of other mountains can be used for jade. I believe that the short 30-minute sharing has given us many viewers who are very inspired in animation development and animation creation. In particular, the culture with a long history is often the source of our creation, but in many cases it will become the bondage of our creators involuntarily. Mr. Sadao Tsukioka showed us how to experience the culture from different angles from the perspective of Japanese culture. The core charm of the character. Just now Mr. Tsukioka Sadao finally talked about the charm of the character. How this character came out of culture, walked in from culture, and finally became the character of our new animation, which gave us a lot of experience. Thank you Mr. Tsukioka Sadao again.

 

We just said that Japanese comics and American comics are involuntary. During the development of Chinese animation, Japan and North America are our two huge references. So when our Japanese perspective ends briefly, we can share that Mr. Sean Tilling comes from From the perspective of North American animation creation, I would like to invite Mr. Sean Tilling.

 

Sean Tilling: 

 

Hello, everyone. First of all, I am very grateful to the Guangdong Museum of Fine Arts for inviting me to come here to give a speech for you. At the same time, I am also very grateful to Mr. Jincheng for inviting me to give this lecture. Thank you for your presence. You can read my introduction. I have worked in the industry for more than 25 years. I have worked in many well-known animation companies. I am also an independent animation creator. I have been in China for 5 years. In the discussion, I will tell you how I compare and think about the development of animation in China and the situation in North America in the past five years. As you can see, my topic today is the comparison of digital art between China and North America.

 

This is when I first got this topic, because this is a propositional composition, I am actually very confused. I don't know what starting point to describe this topic. Do you want to talk about the application of some technology? In fact, many Chinese animations now use very good methods. I think it is a different idea, not a technical difference. You can see that at the beginning you actually only had a simple idea. After you have an idea, your first step is to visualize the idea. There are usually several ways. The first is to write a story to change your idea. To form a complete story, it may be a text script, or for animation, it may also be a storyboard situation. With storyboards and scripts, you will know what techniques and methods are better to use. The way the story is presented. From this perspective, we can expand to tell the difference between Chinese and North American animation. You can recall some of the Chinese and North American movie stories you have seen. In English, the protagonist is also a translation of the hero. Usually in North America, they would say that an analogy story is actually a journey of a hero, and the hero uses a certain action. He is called to take an adventure. He has crossed many obstacles. He has experienced many setbacks. He has become very strong. He will have an extra place to start. For North America, the individual is very important, especially for our company. The works of superheroes I saw are actually the embodiment of individualistic heroes.

 

For Chinese stories, there are some differences. Usually the world where the protagonist lives has been challenged. They are invited or selected to rebuild a new world. They overcome many obstacles and finally return to the starting point. Everything is restored to peace. In this process, it is important to emphasize the collective. When everyone understands the differences between North American values ​​and China, and the differences between individuals and groups, you can gradually understand the differences in North American movie styles, because the North American animation story emphasizes the unique individualistic style. In addition to saving the world as an individual, the United States will create a variety of heroic art forms to praise their style, but most of the content and emotions are relatively superficial. The audience is to please young audiences. As we all know, North American films are hierarchical. If it is obviously a heroic short film, its audience is relatively young. For China, there are many animations or books in our country. They all emphasize some classical styles, based on traditional stories, based on the rich history of our country, and have more texture in design and detail control, especially emotional processing. Our works must attract young audiences as well as mature audiences. We will be a little deeper in plot and emotional processing. It is also related to the character of our Chinese people. We are also more restrained and rich in heart. In our movie.

 

You can see that this should be Wolverine’s comic style. Why did you choose Wolverine? First of all, the character of Wolverine is actually a Canadian. Secondly, these two pictures are presented to everyone, showing different North American and Chinese styles. You can see the look of Wolverine. He is very cool and full of power. When Sean Tilling was a kid, he liked this character very much. Like many young people present, he also liked the image of a superhero very much. And roles. But when he grows up slowly and has more life experience over the years, looking back on this role will feel why I liked this role in the first place? Does he have a compelling background story? Are there many different life experiences? It's hard for you to say, because everyone is attracted by the cool stuff on the surface.

 

I believe that many viewers here have the impression that this picture is an illustration work of Wase. Sean Tilling is actually a fan of Wase. Why does he like Wase’s work? Actually, Wase’s work also has some fantastic colors. A person with special abilities died in the arms of his lover. Compared with the previous Wolverine, this picture will have a greater emotional impact with people. You will find many superheroes who are like the drive of steel, without blood and meat , There is no humanity, no delicate emotions. It is difficult for him to impress the audience's hearts for a long time. As you can see, this picture is the latest work of DreamWorks, because people in North America have very different personalities from those in the East. They are very good at expressing and their behaviors are relatively foreign. These reflect their roles. In terms of design, we all like some western designs. They are exaggerated, have distinctive characters, and are very interesting. They can satisfy your entertaining mentality. At the same time, some features are also applied to animation. You can see that many of DreamWorks comes from animation. Some animations are very fun and they are good at expressing. He made two examples before. When you greet you and express emotions with others, Chinese people and Americans have totally two sets of feelings. Chinese are very reserved. Most Europeans and Americans have very rich body language. This is also a double-edged sword in film expression. He wants us to see him well. have expressed.

 

However, Europeans and Americans find it difficult to deal with some of the more subtle emotional expressions, and they will not know how to express these subtle things, or even ignore them. As you can see, this picture is all of our popular Nezha children. Digital art in China has lasted for a while, but it is relatively new. In the first 10 years, you can recall some of what you have seen. Chinese 3D painting, even if it is Nezha, some of his characteristics can be seen. Big head, big eyes, small body and exaggerated performance. Big eyes, big head and small body. In the beginning, the desire of this kind of design was our natural preference. Everyone likes babies and animals. You will think they are very cute in this proportion. In the beginning, many domestic artists will Thinking about how we should do some three-dimensional animations, do something close to the North American style, we will use some North American animation exaggerated expressions, exaggerated movements to express ourselves, but everyone knows that we Chinese rarely have one With such a personality, it is difficult to express yourself like people in North America.

 

In recent years, our country’s animations have gradually become more and more popular with their own people, such as "Nezha" and this year's "The Origin of the White Snake", including "The Return of the Great Sage", they all use a very distinctive Chinese style to describe In the story, the Chinese style is not only the appearance of the characters, but also the design of the characters and scenes. It is not just a complete copy of the North American style. He began to slowly travel his own way of artistic expression. In addition, some of his emotional expressions and animations were not so exaggerated, and slowly moved towards a soft and introverted expression style, which shows that Chinese animation is slowly beginning to really speak. The characters in China's own stories are really Chinese. That is to say because now thanks to the development of the Internet and some more open international exchanges, just like everyone here today can have face-to-face exchanges with North American and Japanese artists. In fact, many styles and works can be seen on the Internet. , You can absorb many different styles and works. Compared with North America, China has a rich and long history of animation design. I like some Japanese comics, such as "One Piece", and I also like some other European illustrations. Some of the stories you usually see and the stories you usually see will become a nutrient to your stories. You can strengthen and perfect your own stories, especially our China has a long and rich animation history, and we have many stories to go to. Narrative We should be able to find a way to tell our own story in our own language.

 

I have been in China for five years. I like to work here. In my spare time, I also make some of my own works. Just now you can see that the little robot on the first painting is also my personal work. China shares what it has seen and heard, and likes Chinese culture very much. I hope my lecture today will give you some inspiration. Thank you all.

 

Zhou Zheng:

 

Thank you for the voice of North America. We have seen that the animation art brings us more thinking from the cultural level. There has always been a question in our animation teaching, what question? All of us who study animation know our animation rules. There are some basic principles of animation design, almost all of which come from American animation. This is something that cannot be violated.

 

A question arises during this process. If you do not follow this rule, it is possible that your character's actions are incorrect, or from the perspective of animation, the action does not move, but the more you follow this rule, Maybe you can do well and move, but it is a foreigner who moves, not a Chinese. This problem is a problem that needs to be solved in the process of Chinese animation for a hundred years. Of course there is something in it. Our reaction to animation art is also a very interesting and very difficult topic of how our generations of animation artists face the Chinese body and do Chinese animation. Of course, we can’t say that this problem has been solved today. It means that when we face our long cultural tradition, we just say that we have such a guarantee or that we are in this land.

 

We are in our culture, how to update our animation creation for a group of people under our cultural identity. Two animation artists from different countries have given us different perspectives. Of course, what we will share today is Mr. Jin Cheng What will bring us is that he has been a witness of Chinese animation in the past 20 years, and is now an important promoter in all walks of life in Chinese animation. With such thinking, he is thinking about problems and we are about to exceed 5 billion box office. Ah, Mr. Jin Cheng, please.

 

Jin Cheng:

 

Hello, friends, I am very happy to be able to participate in such a sharing event today. I also feel that I have benefited a lot from the speeches of two friends. I will talk about integration and innovation first, because I just met an animation school from Dalian. The dean of and their department heads, he came specifically for our topic. I think this topic seems to be very important. I am afraid that I will digress after talking about it for a while. I will first talk about the topic of integration and innovation. After seeing this exhibition, our Guangdong Museum of Art is currently exhibiting comprehensive paintings for the 13th National Art Exhibition. I am a judge of the 11th, 12th, and 13th National Art Exhibition. I have experienced the integration and innovation. The changes brought to us, for example, in which aspects are integration and innovation reflected?

 

 

Just like Kobayashi’s comics, many of our friends know this man, and he often reads his comics on mobile phones, and this kind of comics belong to the Internet celebrity comics, usually Internet celebrity cartoonists and art exhibitions such as national art exhibitions, he does not Welt, it feels like a car running on two strands, but this time through a lot of our work, we have made a lot of connections and communication in the middle, and we have made this kind of work so that it can appear in the national art exhibition. There are advertisers in Shanghai, famous advertisers (English spoken) and his cartoons, such as "Can't Sleep", and the latest two books published. Kobayashi has a very crazy influence on the WeChat public account (English spoken) He is very influential on Weibo, so a comic exhibition of his personal English spoken is currently being exhibited in Shenzhen. Such Internet celebrity cartoonists are actually contributing to the national art exhibition. I feel that the demands of cartoonists tend to be more fan-oriented, and he is more market-oriented. This time we are able to present a batch of such works in the national art exhibition. In fact, this is a fusion and Innovation.

 

In addition, there is also an animation led by Cai Zhizhong, and then he exhibited a graphic work, which was signed by the author, and Cai Zhizhong and others were signed by the Shenzhen Tencent Computer Company. , This is also a phenomenon that only appeared in this national art exhibition, because of what? This is what I think we need to respect the artistic laws of paintings and the objective conditions of paintings. His industrial laws are actually due to the dual attributes of art and commerce because of animation and comics, so we can’t put aside art talks. Business can't talk about art without business.

 

In fact, the content I talked about is a bit complicated. This is a theme that was determined at the beginning. I think this theme will not change. I will try my best to return to this theme, but in the first half of it, I will talk about some of our related topics. Half will be back. This is a talk. Today, Mr. Tsukioka Sadao is here. I also want to interact with him on my topic. In this way, our lecture activities can be more integrated. Let’s talk about Monkey King meeting Astro Boy again. This topic is very interesting. We are deeply aware of the relationship between Astro Boy and Monkey King for so many years.

 

In June, I went to Japan to operate an exhibition. I held a Chinese animation art tour in Osaka, Nara, and Kobe. There was an intermission in the middle, so I went to Tokyo to live for a few days. , And then I visited Osamu Tezuka's Co., Ltd. for the first time. When I got off at the Takahata Baba station on the subway, as soon as I stepped on the platform, the music of Astro Boy rang in the sky, so that moment was special. This painting is the one we see now. It is at the station of Takahata Racecourse. The outside of the platform is like a huge wall painting on the side of the road. It is very shocking, so the music rang, and I felt myself at that moment. Particularly moved. This painting is the one we exhibited the most in Japan this time. It has been reprinted by the media including People’s Daily, Guangming Daily, and CCTV. When the media reported, this painting was painted by Mr. Osamu Tezuka. He was donated to the Shanghai Film Studio. Our animation museum also has this painting. We organized an exhibition of the Chinese school of animation art on the 2nd and 3rd floors of the Guangdong Museum of Art in 2015. Chinese and foreign animation art. For the big exhibition, we are the Shanghai Beauty Film Studio who provided us with a copy of this painting. The original is at the Shanghai Beauty Film Studio.

 

This one was painted by Osamu Tezuka when he visited the Shanghai Film Studio, and this one was when Osamu Tezuka visited Mr. Wan. That is to say, it is not mentioned by Mr. Tsukioka Sadao just now that it is the mutual influence between Chinese and Japanese culture. In fact, without Mr. Wan, there would be no animation of Osamu Tezuka. In other words, there is no Japanese animation today. Maybe some of our children here don’t understand these history. When Osamu Tezuka was in middle school, when Sadao Tsukioka was in the fourth grade of elementary school, he wrote to Osamu Tezuka. The letter expresses his love for Osamu Tsuka’s manga. When Osamu Tezuka was 14 years old, he saw Mr. Wan’s "Iron Fan Princess". He vowed to use manga and animation. I would like to learn from Mr. Wan and create Japan. The unique animation and manga.

 

This is the Chinese abbreviated version of Astro Boy published by Manyou. This is in 2008. The photo on the right is the chairman of Osamu Tezuka who came to China again in 2018. He came to participate in my personal work before 2018. The museum did a special exhibition, and he came to participate in the photos at the time of attending the academic seminar, after a lapse of 10 years. Then there is Spirited Away, this work is a very good work, we should have seen most of us, we said at the time that we all owe Mr. Miyazaki a movie ticket, we watched too many of his Animation, but in fact, we have very few opportunities to watch his works in the theater, almost none. It just happened that his film was officially released in China on June 21. It took a long 18 years for the film to be released in Japan to China, and then to China in 18 years. Why is it screened in China at this time? I want to say that this is related to our trip to Japan to hold a Chinese animation Japan tour.

 

You may not see the fine print in the China Animation Japan Tour. It is hosted by the Information Office of the State Council, the State Administration of Radio, Film and Television, and the Chinese Embassy in Japan. It is hosted by the Information Office of the Guangdong Provincial Government and the Chinese Artists Association. The specific implementation is our Guangdong Animation Artists Association and Guangzhou Animation Artists Association. This exhibition is on the 22nd, that is, Spirited Away on the 21st. Our exhibition opened on the 22nd in Osaka. It was our General Secretary Xi Jinping’s visit to Osaka to participate in the G20 summit in Osaka, which means that all of this It’s not a coincidence. This is also a report by the way. It was also my first exhibition in Osaka. I exhibited my first comic series like a black and white line drawing that I started to draw in the second half of this year. By the way, I’d like to report to you everyone. The picture I saw is our airport poster. In fact, I just talked about integration at the beginning. This airport poster is probably worth RMB 4 million. Then it is impossible for our exhibition to spend so much money to go to the airport to run such a luxurious and tall advertisement. This time it is Tencent Animation. Lin and I are the curators of the exhibition. Mr. Xiao Lin has strong public relations skills, and he communicates with Tencent. , Tencent supported our airport advertising this time, the value is more than RMB 4 million.

 

This is also a kind of fusion, so that more people can understand animation. A few days ago, in the media, at the China Cartoonists Conference yesterday morning, I said that I said that 20 years ago, Professor Zhou Zheng just mentioned the 20-year history of Chinese animation. , It happened that I came to Guangzhou from Beijing, just 20 years ago, at the end of 1999, nearly 20 years ago. At that time, I remembered that in Guangzhou we had a three-bedroom apartment in Wuyang New City. We were all in one dining and lodging studio at that time. Inside the house, five of us in Beijing at that time recruited one of our painters from Guangxi. They came to work the next day and joined us. After going to work, his mother took the chair home before he was firmly seated, thinking that animation cannot be a legitimate profession. I haven’t heard of such a profession. Thinking about it now, everyone feels like it’s a fantasy. But the environment at that time was like this. We just made comics, just like underground workers. I remember that I was in Beijing and I was the predecessor of Manyou Culture in 1997. It was called the Jincheng Times. I looked for the author. You may not even think of me. When I went to the basement to find the author, I opened the basement of every building in Beijing. The big iron door in the basement was probably at least 1 foot thick. I opened countless basement doors and finally found Benjamin and found the prize in the exhibition. Ye Jun, the author of the work "Fairy Tale of the Old Street".

 

Hu Rong and so on were also found at that time. So it was really in their basement that the smell of instant noodles was mixed with the smell of so-called cigarettes. It is different from today. This is the scene of our exhibition in Japan. Let me share with you. This painting Astro Boy and Monkey King is always the work of our exhibition. The second picture on the right is me and Sada Tsukioka. A group photo of Mrs. Husband, I hold Mr. Sadao Tsukioka’s animation textbook, and the other is a painting of his wolf boy. The one on the far right is the friendly personnel of Sino-Japanese Animation, the daughter of Yoshina, who used to be in the liberated area, 194 years old. In 1999, animation was established in Northeast China. Everyone knows that the cradle of Chinese animation is the Shanghai Film Studio, which is the cradle of Chinese animation. However, Shanghai Film Studio was formerly Changchun Film Studio and Changchun Film Studio. Before, I believe that most of the people here should not know that it is a small place called Qingshan Town. Which place is it? Inside a small gully in Qingshan Town, Heilongjiang Province.

 

Yesterday’s Chinese Artists Conference showed the photo, the photo in the small town, which is the cradle of Chinese animation, so as a Heilongjiang native, I seem to have some connection with this. This is our lecture in Japan, Morishita Xiao Mori is the chairman of Toei Animation mentioned by Mr. Sadao Tsukioka, and the chairman of Osamu Tezuka. Soda is the current director of Shanghai Film Studio, then Yoshina's daughter, and on the right is the general manager of Tencent Animation. Mr. Zhou. Then after we came back, in the last month, we also had Japanese cartoonists coming to Guangzhou for visits and exchanges. The one on the left is Haruhiko Mikimoto, and the one on the right is Yuan Kuno Ogawa. He held an exhibition in Guangzhou. The atmosphere of this kind of animation in Guangzhou is getting stronger and stronger, so you can look at the children who love animation in other places on the Internet, and they constantly publish their crying expressions on the Internet. Why are animation academics, animation art, and animation exhibitions all in Guangzhou? Guangzhou now has an academic atmosphere. That’s just to tell you a little bit about our previous exhibitions, and talk about the friendly exchanges between China and Japan, especially the iron-armed Atong Mu and Monkey King are the representative images, which can connect the two countries' animation art. Why do I use this poem "One night in a small building listening to the spring rain, deep alleys in the Ming dynasty full of apricot flowers". Teacher Zhou Zheng also quoted at the beginning just now. Why do I use Mr. Lu You’s poem? It seems to be derived from Lu You’s Lin’an Yuqi.

 

One sentence in such a poem, we announced the Chinese Animation Golden Dragon Award the night before yesterday, and also launched the prelude to the 12th China International Comics Festival series. There will be many animation events in Guangzhou, Guangdong Province. It started one after another, especially through this awards ceremony we saw a batch of new works, a batch of very good works, which entered the eyes of the common people and came to the eyes of our animation lovers, such as "Nezha Demon Boy Comes into the World" Let’s take a look at today’s box office of 4.78 billion, and soon surpassed 4.8 billion. After the success of his work, the first award he won was the Chinese Animation Golden Dragon Award, which was less than 100 meters away at the Ge Museum the night before. The Xinghai Concert Hall presented the awards. He won the Golden Dragon Award for Best Animation Feature Award, Best Animation Director Award, Best Animation Screenplay Award, and Best Animation Music Award. It should be the most awarded work in the 16th Golden Dragon Award. At the same time, a list of 70 people was released. The young dumpling director was also selected for 70 years and 70 people. He is divided into categories, divided into several major categories.

 

Dumplings were also 10 years before Nezha. At that time, he created another work "Hit a Big Watermelon". At that time, he was a non-professional company and created an animated short film under the name of a personal studio. Everyone in this short film What can still be seen in the search is very beautiful, amazing and very special. It was 2008 and was shortlisted for the Golden Dragon Award in 2009. Did not win the final award, but became one of the finalists of 5 animated short films, so Dumpling's animation wind is also closely related to our Guangzhou and the Chinese Animation Golden Dragon Award. In fact, he can succeed in this animation. The first is his positioning. He has first greatly expanded the audience. Do you think our previous "Pleasant Big Big Wolf" was obviously for children, and "Bear Infested" was also for children. Although the box office was OK, after all, it has an obvious limitation, and the audience has a big limitation. Very limited by age, let’s take a look at whether it’s Europe, North America or Japan, the mainstream audience of his animation and comics, young people, or adult audiences. Including this work, Nezha is also positioned for all ages. The most important thing is that he attracts The crowd of young people, the crowd of young people is actually the same age group as everyone in the audience today. This crowd has a huge driving effect. In fact, this crowd has led to the upsurge of the whole people watching movies. If children like it, he will drive it. The enthusiasm for movie viewing by the whole people cannot be avoided.

 

If some films take movies as an example, it is similar to the film "My Father and Mother" by Zhang Yimou in the past. He is directly aimed at people of a little age, but his driving ability is very limited, so the box office is limited. Youth People are the new force driving the box office, so he just caught the consumer psychology of young people, seeking new changes, including the shaping of Nezha and a series of characters. Their personality is very suitable for the aesthetics of modern people. . Then Mr. Sean just talked about it. Both Mr. Tsukioka Sadao and Mr. Sean Tilling talked about the shaping of characters. Indeed, the shaping of characters is really important. The first thing he talked about is thought. , His last advice to us is a bit like the most important advice. First, the theme of your animation is very important, then the story, the story is very important, and the third is the role is very important. In fact, he did not say how the technology is. In fact, the role of the role is very, very large. The other is the main body and the story. I still agree with this point.

 

We in China have some shortcomings in this aspect. We often get to a script that has been written and has a consistent worldview and values. That is to say, the theme is still unclear. Then the story may have been revised a few drafts. He has already felt that he has vomited blood and changed 10 He felt that there was no way to change the 8th draft. He didn't follow the market needs. He thought I had changed how many times it was the standard. Rather than saying that market audiences like it or not, readers like it or not. He doesn't take this as the standard, it's useless if you change it many times. It doesn’t tell you how many times you have changed it. The most important thing is how far you have changed. When I visited DreamWorks in Hollywood in 16 years, we happened to be his animation director who was also from Guangdong. Teacher Wei from Chaozhou, he brought We went to the various departments of DreamWorks to visit. During the interim visit, we learned that we had discussed and exchanged ideas with the "Kung Fu Panda" department. What kind of innovative plan does the fourth part of this work have? What kind of innovation goals are there? He told us that it hasn't been included in the animation target, we asked the first three so successful, the third is also very successful. The fourth film should be launched as soon as possible. Taking advantage of the situation can have a better market pavement, and the iron can only be successful when it is hot. Then he replied that this film was not included in the plan because the script was not satisfied yet, and we asked what if the script was not satisfied all the time. kind? He said that if the script is always dissatisfied, we will keep pressing and will not rush to work. This is the reason why we can't see the fourth part of this animation. It is not based on how many drafts he has changed, but based on market analysis and real market demand. This inspired me very much.

 

I finally use a summary. I think whether it is anime or a manga, it ultimately depends on artistic appeal to impress readers and audiences. His artistic value determines how far the work can go. What we see now, whether it is Disney’s, It's from DreamWorks or Pixar. We saw their animations. First of all, they all have a high aesthetic value and a very strong artistic appeal.

 

Then he can generate a kind of appeal for the first harvest at the box office. The current problem in China is that we are often too eager for quick success and quick profit. We are just about the same. In fact, this is about the same. It is not only the same in our Chinese industries. Thinking, if a person can successfully do something, he must have taken a step forward. As long as you can’t get the same, you will never succeed. Our current cartoons are basically the same as our problem. We lack the perseverance and willpower to keep improving and polishing fine products. Over the years, the China Artists Association of Guangdong Province where I work, including our Animation Artists Association, have been committed to promoting the development of animation art. Under such a big demand to promote the integration of industry and art, we will work hard. First, we must promote animation art to make up for the shortcomings. That is to say, our Chinese animation, if we talk about the overall situation, it is only It’s far from enough to have a Nezha. With such a large market in China, Nezha’s blowout effect is enough to give us a very big inspiration, that is, China is an absolutely huge energy magnetic field, and the market calls for countless such masterpieces. Be able to produce, be able to stand out, and be able to meet our needs.

 

But in fact, the limitations of our works are still limited by the positioning of the works, the polishing of the script, the design of the characters, and so on. All in all, the most important thing for us is to focus on breaking through. The shortcomings, I personally think it is animation art, animation art is still a bit abstract, which should include literature and art, including music, etc. I ended today's speech with this classic sentence of my fate, I can't help but this Nezha, and the future of Chinese animation can be expected. thank you all.

 

Zhou Zheng:

 

Mr. Jin Cheng used his eloquence to introduce to us some things about animation and his understanding of animation in the past 20 years. I think there are two keywords. The first one is almost the same as the second one. It is the fusion he mentioned earlier. We know that it is a bit difficult to translate the word anime into Japanese and English or into any other country’s vocabulary, because there are many different types of comics and different types of cultures in many countries’ cultures. Very meticulous, even this genre and that genre sometimes do not interact with each other. We have seen the great development of Chinese animation in the past 20 years. The most important thing is that we are actually working together, fusing together, narrative, Story type, animation type, comic type.

 

Under a large value system, we have merged into today’s Chinese animation art. There are many people’s efforts and efforts in many fields, which have merged into a trend and direction of our animation today. Teacher Jincheng shared with us Nezha's Chinese animation he has seen in this film can be expected in the future. I believe that it will be inspiring for all of our audiences, whether they are in our industry, classmates or people who care about Chinese animation, and their lives cannot be the same. The three of us today are almost at this level, and we used it again. It seems that it is easier to use this term in our cultural context. Next is the time for the three teachers to talk and share with us. Please three The teacher sits down.

 

The topic of this link is difficult to design, because time is too limited, what kind of topic I think we are the first to talk about the history of animation, in fact, the history of animation, we are talking about the history of the country and national culture, we In the face of three such people in the field of animation, I actually want to know their personal history. Let's gossip about their private animation history. The first question is, the three of them are all creators. What was their first work in the field of animation? Let’s start with Mr. Tsukioka Sadao.

 

Tsukioka Sadao:

 

The first film I made was a story about a mouse married girl produced in Toei. The first film I really made was in charge of Mr. Osamu Tezuka. The one I also participated in was called "Cigarette and Ashtray" "s work.

 

Zhou Zheng:

 

Teacher Jincheng, what is your first work?

 

Jin Cheng:

Let me first talk about what I want to do in the first part, and what I actually do. What I wanted to make was "San Mao Wanderings". I was very young, so I wrote to Zhang Leping. I said that your "San Mao Wanderings" has no new creations, and we are all looking forward to it. I also know that you are very old, so I don't know whether it can be created by me. Then I received a reply letter from Mr. Zhang Leping’s eldest son. He said that Mr. Zhang Leping was already in bed, and he could not reply to you. I would reply to let you know that he is sick and cannot answer you. I will look at the situation later. He tactfully refused.

I actually drew the first work. I actually believed it was an impulse at the time. At the time, I saw a story about a Lugu Lake at the junction of the three provinces of Yunnan and Sichuan. They had a story about a marriage. I was particularly curious. I drew a cartoon of my first part of the scene based on that story. The first one was because the sub-shots were not available in the early 1980s, and no one published it for me, saying that you are not a Chinese comic, and the second is because of the painting. It’s the story of a married marriage. The subject matter of this story is quite different. It can’t be shown to children, and it’s not published. I would also like to say that the first draft of this work is not finished after painting. Decades have passed. I remember that I drew it. I don’t remember where the manuscript is. Two years ago, I met an old friend in Guangzhou two years ago. I used to paint in a studio with me, and I drew comics with me in the studio I set up. He is now working in Guangzhou TV. Most of the dozens of comics I drew were drafts, and a few of them were drawn with ink lines. I was very touched.

Zhou Zheng:

 

Marriage is back again, Mr. Sean Tilling’s first work.

 

Sean Tilling:

 

At that time, it was in 1998 that he first started to make a personal short film of his own. At that time, Peters was very popular. Would he like to imitate Pixar's style as his first personal short film? He was very confused at the time. He thought for a long time and couldn’t come up with the subject of what to look like. Later, he had an idea, and he thought that I could use my idea as the theme of my animation. The theme of his first small animation was called Mark’s Dream. The story is A little boy, he entered a dream. He dreamed of a flower and a small butterfly. He came to the front of his painter and drew the small flower and the small butterfly. They were all very simple. After he finished the animated short film, he I also suddenly realized that he is very happy to make his own short film to express his life feelings. For him, he feels that he does not need to copy it, to deliberately imitate others. I am more suitable for expressing some things that I can feel. , To express what is in my heart that can move me. This is what I want to make. The content of the short film. He also adheres to this idea and insists on making short films.

 

Zhou Zheng:

 

Thank you three. We saw their private animation history. There are three words behind them. Teacher Kinjo is Zhang Leping, Mr. Tsukioka is behind Osamu Tezuka, and behind the North American artist is Pixar. We seem to have something behind where we create. This may be your culture, or your cognition of animation, but the topics are different, ashtrays, dreams, and marriage. Some are very personal and some are very cultural. We have seen that animation can be possessed by creators of different cultures under the pluralism. In fact, I have communicated with Mr. Tsukioka Sadao at noon on this issue. What did you have when you communicated with Mr. Osamu Tezuka in the first place? Ideal? Want to revitalize Chinese animation? He said that I don't seem to be like that much, so I must survive first. Here is the second question. The second question is a little more abstract. We can see that today's animation art is the most influential art form for young people. Why is this art form so attractive to today's young people? What is the most fundamental reason in the minds of the three guests? What is the core of this kind of art? Today's animation art has become the most important artistic situation in the hearts of young people. He must have his unique charm. What is the core of this charm? In the minds of your three guests, what is his core soul?

 

Jin Cheng:

 

I think it still lies in its image. He uses images to narrate. This is magical. People look at image narratives, including comics, but also because of the feeling of movies on paper and animation. I also like its surreal story structure, that is, some super-imaginative works that are usually not photographed by real people.

 

Zhou Zheng:

 

Mr. Jincheng’s idea is to super-imagine, remembering that surpassing the things in real life becomes his greatest magic. How does Mr. Sadao Tsukioka think about this issue?

 

Tsukioka Sadao:

 

First of all, I very much agree with Mr. Kaneshiro’s point of view. I also really like this kind of animated paintings. Here I want to talk a little about the history of Japanese manga. In the past, Japanese manga was used to be funny. This is the biggest purpose. Feeling happy and able to laugh. If you change to a movie, it will be different. There are very few directors who can really make movies that make people laugh. Mr. Osamu Tezuka's anime works are all depictions. Something more dreamy and futuristic. After the success of Mr. Osamu Tezuka, the history of animation in Japan has undergone tremendous changes and jumps. When I was in elementary school, World War II had just ended, and I myself experienced a very decadent period in Japan. Mr. Osamu Tezuka also experienced this. Of a process.

 

I think the biggest charm of Japanese manga and animation that attracts young people is that creators see things from the perspective of young people. Some things that ordinary young people can’t experience are also expressed through comics and animations. This is very attractive to them. Interspersed with a small episode, I saw Mr. Kinjo’s paintings today. I think it is full of a lot of humor. It's hard to come by.

 

Sean Tilling:

 

At the very beginning, everyone felt that animation and manga were very attractive, just like when we were young, we liked to eat candies. Candies are exquisite and beautiful, but they can cause tooth decay and have some bad things, but they don’t hinder us. I like them. For us, why do many young people indulge in animation and comics? He likes them very much. He is a very fast way to deliver the content required by the story and the animation and comics. You can get his story content quickly and effectively through the pictures in the comic story, his characters, and his very cartoonish expressions. For example, what you read is a text story, and what you read is a popular science article. You may feel very boring, you may lose interest, but if he is a comic or an animation situation, he will continue to give you points of interest, will let you insist on reading this content, and then you will get the author The point to express, in addition, some animations may not only be family animations.

 

Parents take their children to the movie theater to watch some of his animations. These things are for parents who are parents, they can enjoy the process of watching movies happily, so even if they grow up as parents, there will be a large number of mature age audiences. Like it may be one of the reasons why he is more popular. He gave an example. He saw a small animation when he was a child. He liked it very much. The content of the story was a little bear. He wanted to learn to sing. He was a circus actor. One day he was confronted by a bad guy. Kidnapped, after an adventurous journey. This bear left a very deep impression on his mind. What does this image express? It is that many young people watch this fantasy animation and comic works actually enrich his worldview. In addition to his daily life, he uses some works to make his ideas break through the dimension. His ideas are boundless. His Life experience is very full. He can look at some things in his life from a different perspective through the things in his works, which makes his life very colorful.

 

Zhou Zheng:

 

We listened to the sharing of the three teachers. We heard a lot of keywords, images, young people's perspectives and wind directions. Teacher Xiao En shared his unique viewpoint, the animation art's view of the world of today's people. This afternoon, we have shared so many aspects of animation in abundance. Just now it was the three teachers we heard about their initial understanding of animation and the animation in their hearts. I believe that no one does not like the dream of directing images, no one. I don't like the mentality of young people, because our view of the world still has to be young, so animation may always be permanent in our hearts forever.

 

Towards the end of our activity this afternoon, we still have a special activity. Today we started our sharing activity from Mr. Osamu Tezuka on the origin of Japanese animation. It is the Astro boy mentioned by Mr. Kinjo. The story of Mu and Monkey King started a cultural imagination for our activities, so today, Mr. Sadao Tsukioka specially prepared a pair of Astro Boy to present to the Guangdong Museum of Art. Below are the staff members. The one who accepts the donation is Director Liang from the Diancang Department of Guangdong Museum of Art, and there is Director Liang.

 

Zhou Zheng:

 

Thank you Mr. Sadao Tsukioka.

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