Analysis On The Development Direction Of Chinese Animation In The Animation Market Under The New Animation Industry Chain
JiHui Yan，Chulyong Choi
Department of Visual Contents, Division of Digital Contents
Dongseo University
Busan, South Korea
[email protected], [email protected]
Abstract
Keywords-component;internet+; Chinese style animation; ink-wash painting
1. The development of China's animation industry in recent years
Since the launch of the "Internet +" program in China in 2015, it has promoted the generation of intellectual property cluster effects, making full use of the huge influence of the network platform and the original animation IP, forming a relatively complete novel - comics - The animation industry chain unifies the consumer groups in various fields. At the same time, Tencent Animation, there is a demon, the relatively large media communication platform such as the Reading Group has also begun to sign up for popular IP for animation.
At this stage, the Chinese animation industry model is close to Japan's industrial model, but there are still some differences. The animation works that have been shown since 2015 are not only the use of Internet comics IP, but also the online novel IP. They form a viewing consumer group through lower cost investment, and then adapted into anime and film, realizing cost recovery and expansion through fan consumption, and finally forming a series of works. Or add value to derivatives. In the process of anime/manga content broadcast-fan reception-content feedback, the post-bar became a venue for fans to gather, discuss stories and re-create, similar to an animation sub-culture production organization. As shown in Table 1, the scale of Chinese animation users is increasing year by year. Based on the above situation, with the increase of the broadcasting platform, more applications of Chinese wind elements have also increased.
Table 1. Chinese animation user scale in 2015-2018（Unit: 10,000 people, %）
2. The development and application of Chinese style elements in animation
When it comes to China, many people will think of ink and wash landscape paintings, Beijing opera, red Chinese knots, food, kung fu, etc. These elements are all transmitted to the audience through many film and television works. Similarly, Chinese animation works are also full of various Chinese elements.
In the development process of Chinese animation, the use of elements of Chinese style has never stopped, and Chinese elements such as Chinese style, art, art and humanities are integrated into the animation.From the application of paper-cut and shadow puppetry to the use of traditional opera and dance for reference, the music USES flutes, guzheng and xiao to create Chinese style.At the same time, it fully combines with the external elements, and forms a rich aesthetic artistic conception.
The popular Chinese style works in the animation works after the formation of the emerging industry chain have many themes, which are divided into two categories according to the genre: martial arts themes, Xian xia and myths.
The theme of martial arts: The story of animated characters is a story based on the ancient historical background. It is rooted in Chinese national culture and historical themes, and integrates Chinese history into the story. In the setting of animated stories, the martial arts theme will be more inclined to the performance of kung fu and chivalrous. Each country or nation has its own chivalrous epic and special attitude or expectation towards chivalry. This expectation continues with the continuous development of society. Transform. The animated film and television works adapted from this chivalrous epic are born with uniqueness, reflecting people's expectations for the existence of chivalrous heroes. In the history of animation, the chivalrous spirit of animated characters, with the development of the times, shows different styles. Xia culture spreads the common value proposition that is in line with the world civilization. < The Legend of Qin > interprets the essence of the literary thoughts of the philosophers in a special way. <The Bad Man of the Rivers and Lakes> shows the romantic and magnificent martial arts culture by telling the story of the rivers and lakes in the background of the Chinese Tang Dynasty. In particular, in terms of character, costumes, scenes, etc., the poetic oriental charm is highlighted.
Fig. 1 < The Legend of Qin > <The Bad Man of the Rivers and Lakes>
Xian xia and myths: this kind of theme is mostly adapted from Internet novel IP or comic book IP. For example, the design philosophy of <Douluo Mailand> and <Guan Hai Ce> is to pursue ink charm, and the costume modeling of characters adopts the design elements of nationalization.In terms of background music, there is a lot of selectivity of Chinese wind elements. A large number of instruments such as guzheng, chime bells, flute and pipa can show strong national characteristics and regional customs.
Fig. 2 <Douluo Mailand> <Guan Hai Ce>
3. The value of Chinese style elements in stylization
The Japanese and Man Man are already mature markets. They all have their own characteristics. The works created by China in these two fields are certainly better than the creators of their own country. However, in the Chinese market, if you want your work to attract readers, the author must use his own familiar culture and use the local characteristics to create the works, so that the competitiveness of the country can be spelled. As a commercial work, it must be rooted in the market and positioned in the minds of readers. This is the competitive advantage of Chinese animation in China's local characteristics.
Based on Chinese culture and oriental culture, China Wind Animation maintains its unique charm and style while adapting to the global game development trend, and incorporates the Chinese style into the animation creation. The traditional Chinese painting gives people the greatest feeling of being elegant and agile, a plausible implication. Animation is not a reference to its methods, it is more about learning how to grasp its regularity.
Whether it is< Monkey King: Hero Is Back >, < Da Hu Fa >, or < The Wind Guardians >, although the style is different on the "Chinese style" issue, the use of Chinese elements is actually quite consistent. Whether it is from the production of clothing, names, lines, sets, or the application of motion capture technology. This gives people a very long time from the paper, bringing the high-definition that domestic animation has gradually caught up on the screen.
The Chinese style is actually a generational name for Chinese cultural elements. It includes kung fu, architecture, yin and yang, and Tang costumes, poetry, and more. Just because the works produced in China are martial arts and kung fu, these elements are clearly remembered by people, but they cannot be limited to them. At the same time, it is necessary to create new Chinese style, technology, and humanities. These are actually included. It is Chinese style.
Fig. 3 < Monkey King: Hero Is Back >, < Da Hu Fa >, < The Wind Guardians >
4. Analysis of the development direction of Chinese style animation
At present, the biggest problem with cartoons is not making, but how to make accurate Internet marketing. For example,< Junior Jinyiwei> is a high-quality IP, not only for animation, but also for game development and comic creation. The first is the fan activity operation, the animation industry's first film-tailed small theater, offline exhibition signing activities, online fan activities, etc., in order to obtain first-hand fan feedback, improve the series; followed by word-of-mouth maintenance, and finally platform cooperation "Junior Jinyiwei" has cooperated with many video platforms, live broadcast platforms, cable TV stations and digital TV platforms, so that excellent works can reach the audience through various channels.
Fig. 4 <Junior Jinyiwei>
5. Conclusion
Nowadays, the animation works published through many platforms are the products of the Chinese network generation culture in the era of media fusion. Consumption is consumed by the new generation of netizens. At present, China’s animation creation is at a stage of development, how to reflect the profound nationality in Chinese animation creation. Cultural heritage and distinctive features show a clear style, which is a question worth pondering. On the one hand, the work should avoid rigidity, ingest unlimited and fresh materials, and integrate and innovate; on the other hand, it must respect the uniqueness of national art, reflect the aesthetic psychology of the Chinese nation, and reflect the inner spiritual pursuit of modern people. This requires us to find the advantages and unique styles of our national traditional art elements in the process of animation creation, and create a new animation with a strong Chinese traditional art style without losing the characteristics of the times.
References
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