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The history of Chinese Animation began in the 20th century in the Republic of China when the people became fascinated with the idea of animation. A lengthy history interlocks between the art, politics and the ever-changing economy.

中国动画的历史可追溯到20世纪早期的中华民国，这时，人们被动画的主意给吸引了。一个漫长的历史串联起艺术，政治甚至改变了经济。

Early history

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In the first century BC, the Chinese craftsman Ding Huan (丁缓) invented a device "on which many strange birds and mysterious animals were attached" that were said to have "moved quite naturally", but it is unclear if this and the other devices historian Joseph Needham calls "a variety of zoetrope" involved any true illusion of animation or simply featured static or mechanized figures actually moving through space.[1][2]

The modern animation industry began in France in 1888, invented by Charles-Émile Reynaud. Chinese animation started in the 1920s, inspired by French, German, Russian and mostly American productions. One of the first examples of foreign animation did not land in Shanghai until 1918. This piece of animation from the US was titled (从墨水瓶里跳出来),[3] known today as Out of the Inkwell.

早期历史

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在公元1世纪，中国工匠画家丁缓创作一种方法"一些陌生的鸟类和神秘动物画在纸上"，被叫做"自然流逝的动画"，但是还不清楚行为历史学家（devices historian）李约瑟把它叫做 "变化的西洋镜" （a variety of zoetrope）发明了所有动画错觉或简单的起重要作用的或简单的机械化的图形在空间中运动。.[1][2]


现代动画产业起源于1888年的巴黎，埃米尔·雷诺发明了现代动画。中国动画在20世纪20年代出现，在法国，德国，俄国和美国大部分作品的影响下产生。1918年，第一部外国动画在上海出现。这是一部名叫“从墨水瓶里跳出来”的美国动画。[3]

Exploration periods (1920s–1945)

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Princess Iron Fan

In 1922 Wan Laiming produced the first animation in a cartoon advertisement for the Shuzhendong Chinese Typewriter. Followed by the 1924 animation short Dog Treat. Shanghai tobacco company also produced an animation called New Year. These are the earliest known cartoon shorts.[3]


In 1926 the 4 Wan brothers, Wan Laiming, Wan Guchan，Wan Chaochen and Wan Dihuan worked under the Great Wall Film Company in China, not to be confused with Great Wall Movie Enterprises Ltd. Wan Laiming and Wan Guchan were then recognized as China's animation pioneers when they produced the first animation short Uproar in the Studio[3] running 10 to 12 minutes long in black and white.[4][5] The brothers believed that Chinese animation should be instructive, logical and thought-provoking besides being entertaining to its audience. They wanted to emphasize the development of an animation style that was uniquely Chinese. It was a common trend at the time to combine live action film footages with 2D animation.[4] By 1932 one of the Wan brothers, Wan Di-huan, would voluntarily leave the Great Wall Film company for his own photography studio.[4] Some of the first wave of influential American animations that reached Shanghai were Popeye (大力水手), and a show known as (勃比小姐)[6] that may be an off translation to what is known today as Betty Boop.


By 1935 the Wan brothers would launch the first animation with sound titled The Camel’s Dance.[3] Four years later in 1939, America's Disney's Snow White would also be introduced in Shanghai and it would be a great influence. In 1941 China's first animated feature film of notable length, Princess Iron Fan, was released under very difficult conditions during Second Sino-Japanese War and World War II using extensive rotoscoping. While there were overlapping progress made in the Asian regions with Japanese anime at the time, they were not geographically or artistically influential to China directly.[来源请求] During the Japanese invasion period, the brothers produced more than 20 animated propaganda shorts focusing on various patriotic topics from resistance against Japanese troops, opium and imperialism.[4]

探索时期(约1920–1945)

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Princess Iron Fan

在1922年，万籁鸣制作出第一份卡通广告舒振东华文打字机。随后就有了动画短剧狗请客。上海烟草公司也生产出一个动画过年。这些都是最初比较有名的动画短剧。[3]

在1926年，万氏4兄弟,万籁鸣，万古蟾，万超尘和万涤寰在中国的长城画片公司工作，不要与长城电影制片厂混淆。万籁鸣，万古蟾是能被确定的中国动画先驱，他们制作了第一部动画短剧大闹画室。[3]时长为10至12分钟用黑白胶片。[4][7] 兄弟们相信中国动画具有在娱乐中的包括教育意义，逻辑性，引起思考。他们想要强调中国动画的风格在发展中具有独特性。电影结合生活的2d镜头在当时是共同的趋势。[4]一些最先到达上海的美国动画大力水手，以及类似勃比小姐一样出名的。[6]

1935年，万氏兄弟着手生产第一部题为有声动画骆驼献舞。[3] 四年后的1939年，美国迪士尼的白雪公主也被介绍到上海，引起巨大的轰动。1941年，中国第一部著名长篇故事片铁扇公主在非常艰难的处境下（中国抗日战争和第二次世界大战），它使用转描机技术。当今原版的Betty Boop一样。在当时日本动画覆盖了很大的进步，它们没有在艺术、地理方面直接影响中国。[来源请求]在日本入侵时期，兄弟生产了20部动画宣传短剧把焦点集中于各种爱国性抵抗，反抗日本军队, 鸦片和帝国主义。[4]

Steady development (1946–1949)

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On October 1, 1946 a northeast motion picture studio was established in the Nenjiang province (龙江省兴山), known today as the Heilongjiang province. It is the first known studio established by a communist party.[6] In 1947 productions such as Emperor's Dream used puppets in an exaggerated way to expose corruption of the Kuomintang Chinese nationalist party.[8] The idea of using political content in puppetry films was becoming acceptable, and animators took note on their success. An example of such documentary-type cartoons can be found in Go After an Easy Prey (1948).[9] In 1948 the Northeast studio would change its name to Shanghai Picture Studio Group. On October 1, 1949, China would enter a new communist era led by Mao Zedong.

稳定发展（1946-1949）

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在1946年10月1日，东北电影制片厂（a northeast motion picture studio）在嫩江省的兴山建立起来，今属黑龙江省。这是至今所知的第一个由共产党建立的电影制片厂。1947年的产品有使用木偶戏皇帝梦 ，运用夸张的手法揭露了中国国民党的腐败。.[10]在木偶电影中使用政党内容变得可以接受，动画师注意到了他们的成功。一个纪实性的卡通可以追溯到瓮中捉鳖（1948）。[11] 1948年 ，东北电影制片厂改名为上海电影制片厂（Shanghai Picture Studio Group）。1949年10月1日，中国进入了毛泽东为领导的社会主义阵营。

Founding of Shanghai Arts and Film Studio (1950–1965)

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In February 1950 the northeast group would combine with other divisions to become the predecessor of Shanghai Animation Film Studio. The Wan brothers, Central Academy of Fine Arts, the Art Institute of Suzhou and many other big name artists would all be concentrated in this studio for the first time.[6] Among the talent is Japanese animator Tadahito Mochinaga who would spend time in Shanghai creating Thank You, Kitty. Three years later he would depart for Japan, becoming possibly the only artist to have worked in both Chinese and Japanese industry in the era. By 1956 the Wan brothers have created the first colored animation of notable length titled Why is the Crow Black-Coated, which became the first Chinese animation recognized internationally.

In April 1957 the central government would begin sponsoring the studio making it the nation's first and official animation factory. From the technology standpoint, China's animation was still relatively on pace with the rest of the world. In 1958 the Wan brothers created a new animation film technique based on the folk art cut-paper animation, which was demonstrated in Pigsy Eats Watermelon.[4] At the same time another technique called origami animation was also developed by Yu Zheguang (虞哲光) in 1960, in the film A Clever Duckling.[12] Also in 1960 the first set of animation film exhibitions were held in 6 major cities including Shanghai and Beijing, followed by exhibitions in Hong Kong in 1962 and Macau in 1963.[13]

File:PigsyEatsWatermelon.jpg
Pigsy eats Watermelon

The Wan brothers would receive the most recognition for their film Havoc in Heaven, since it was well known among ordinary citizens.[4] The development spanned 4 years from 1961 to 1964. It ran for nearly 2 hours pushing the technology to the limit with some of the most vivid colors ever put to the screen.[6]

It can be said that in the short run, the financing of the Shanghai Animation Film Studio was strictly an extension of Mao's Anti-Rightist Movement following up on speeches like “Let hundreds of flowers blossom and hundreds of schools of thought contend" (百花齐放，百家争鸣). Mao has publicly admitted that promoting new art forms and institutions was vital to the new China.[4] Though with time, his political campaign would prove to be a major backlash to the industry. Putting an end to the golden era.

成立美术电影制片厂(1950–1965)

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Why is the Crow Black-Coated

在1950年2月，东北电影制片厂联合其他部门一同成为上海美术电影制片厂的前身。万氏兄弟，中央美术学院,苏州艺术学院和很多有名的艺术家都在制片厂第一次聚集。[6]日本的天才动画师持永只仁在上海花费时间创作了Thank You, Kitty。三年后他回到日本，作为这一时代唯一一位在中国和日本的动画产业都工作过的艺术家。1956年，万氏兄弟创作了第一部彩色动画值得注意的是采用长标题乌鸦为什么是黑的，作为所公认的第一部国际化的中国动画。

在1957年4月，中央政府开始支持制片厂，让它作为国家第一个官方动画工厂。从世界的技术来看，中国的动画仍然脚步相对缓慢。在1958年，万氏兄弟使用了新的动画电影技术-民间的剪纸艺术制作了猪八戒吃西瓜。[4]与此同时，另一项民间的折纸技术也被虞哲光发展，使用于电影聪明的鸭子。 [14] 在1960年，第一次动画电影展览在6座主要城市举办，包括北京、上海，紧接着展览1962年来到香港，1963年来到澳门。[15]

当普通市民中广为人知后，万氏兄弟的电影大闹天宫收到了最大的赞誉。发展跨越了1961年至1964年共四年时间。它播放了2小时，技术突破一些鲜艳颜色的限制，甚至移到了大屏幕上。[6]

可以说的是在短片播放，上海美术电影制片厂严格地扩大了毛泽东的反右运动，遵循类似“百花齐放，百家争鸣”的言论。毛泽东公然承认了新美术作品和体系对于新中国是重要的。[4]从此开始，他的政治运动显示出对动画产业的强烈反应。黄金年代结束。

Cultural Revolution interference (1966–1976)

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File:8thRouteArmyStoryBook.jpg
Companion story book for the "Little 8th Route Army"

Animations were considered technological marvels up until the cultural revolution kicked into full gear in 1967. By now Mao Zedong was promoting the animation industry only under the circumstances that it was a useful propaganda tool for his Hundred Flowers Campaign. He would send a dangerous message to the animation industry, since his regime allowed complete freedom of expression, yet persecuted those who had views different from his political party. The revolution was widely known for the red guard destruction crusades that would destroy artifacts, antiques, paintings, books and anything of conflicting value. Some of the artists were humiliated, forced to become farmers in the countryside, accept re-education or sent to prison. Some of the famous artists in the film and literature industry would rather commit suicide than to be humiliated. Most of the animators were not allowed to draw and forced to do labor work.[4] The persecutions would grow exponentially worse from 1966 to 1972, labeling the period "catastrophic" for the industry.[6]


The Chinese animation industry was practically put on pause for a decade until 1976 when the cultural revolution was over. What is left of the period were animations that heavily favored Mao's campaign if not furthered his ideology. Animations such as Little Trumpeter in 1973, a story about a young boy named "Xiaoyong" who became a heroic red guard soldier.[16] Other animations from the same year include Little 8th Route Army, a story about a boy taking on revenge against the Imperial Japanese Army.[17] Or Little Sentinel of East China Sea a story about a young girl named "Jiedaling" who followed 3 chemical warfare workers in disguise, and called upon the People's Liberation Army to wipe out the enemy.[18]

文化大革命的冲击(1966–1976)

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动画被认为是一个奇迹性的技术进步直至文化大革命在1967年全面爆发。这时的毛泽东促进动画产业的发展只是在当时背景之下，它是一个有用的政治宣传的工具为了他的百花齐放、百家争鸣.他送出一份很危险的信给动画产业，自从他的政权允许言论自由，迫害那些与他的政党持不同见解者。革命广泛地在红卫兵的破坏就像十字军东征一样，破坏了遗迹，古董，绘画，书籍所有与他们的价值观相冲突的。一些艺术家受到羞辱，被集中派去农村当农民，接受“再教育”或进监狱。一些电影和文学产业的著名艺术家被迫自杀或者被羞辱。大多数动画师不允许写字,而且要参加集中劳动。[4]迫害的人在1966年到1972年成指数形增长，情况更糟糕了，给动画产业贴上灾难性的标签。

中国动画产业尤其是在十年间陷入停滞直到1976年文革的结束。剩余时间的动画在毛泽东的深厚赞许之下，如果没有得到他的恩宠。动画作品有1973年的小号手，名叫“小勇”的小男孩成为了一位红卫兵。[19]同一年出品的还有小八路，故事讲述了一个喜欢对大日本帝国陆军进行报复的男孩。[20]还有东海小哨兵，故事讲述一个名叫金大铃（音译：Jiedaling）的小女孩偷偷跟随3名化学战争工作者（chemical warfare workers），请求中国人民解放军消灭敌人的故事。[21]

Reform period (1978–1989)

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File:ThreeMonksAnimation.jpg
Three Monks

By 1978 it was clear that significant damage have been done by the cultural revolution. An indication of where China has dropped in rank was apparent. In the 20-year span from 1960 to 1989 from the theater standpoint, the majority of cartoons in Hong Kong were imported from the US. It was typical to play American movies in major cinemas preceded by an American cartoon segment. Sometimes the segment would even be shown in its entirety. An MGM or Disney movie was almost certain to be preceded by another Disney animation.

From the home animation standpoint, Japan have already emerged as the dominant animation provider in the Far East. Their export of anime TV series would reach Hong Kong, Europe and the Middle East in mass quantities via analog broadcasts directly to home. Some of the more popular shows include Doraemon and Transformers, which was accompanied by one of the most successful toyline in history. It was difficult for China to compete directly at home or on the big screen.

Nonetheless the Chinese animation industry would begin to reproduce animations in a new direction. Shanghai Animation Film Studio would launch 219 animation films in the 1980s.[3] In 1979 Nezha Conquers the Dragon King was one of the first notable animations shown during the rebirth period. Other films include Snow Kid (1980), Lao Mountain Taoist (1981), The Deer's Bell (1982) and Legend of Sealed Book (1983). Among the works Three Monks (1980) and Feeling from Mountain and Water (1988) were among the few animations that managed to earn awards.

改革开放(1978–1989)

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在1978年，文化大革命是重大的事件，很明显损害了中国的动画事业。这很明显标志着中国排名的下滑。在1960年到1989年这20年内从电影院的角度来观察，香港从美国进口了大量卡通。美国的部分经典卡通在主要放映的影院，出现在美国电影的片头。有时，部分卡通还会被整体播放。米高梅或迪士尼的电影大多出现在另一迪士尼动画之前。

站在动画的来源的角度上看，日本已成为动画在远东地区的主要生产基地。他们输出电视动画到香港，欧洲和中东国家，大量经过播放的同类节目直接送回家乡。一些比较有名的节目类似于口袋妖怪和变形金刚，在历史上，后者伴随着一款最成功的超能勇士 (玩具)。与中国不同的是，它会直接参与国内竞争或者在荧幕上竞争。

尽管如此，中国的动画产业也在新的政策下重新开始。上海美术电影制片厂在20世纪80年代制作219部动画电影。[3]1979年的哪吒闹海标志第一部新生时期的动画片。 雪孩子 (1980), 崂山道士 (1981), 鹿铃 (1982) and 天书奇谈 (1983). 期间的课题 三个和尚 (1980) 和山水情 (1988)

The Digital era (1990–present)

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While China's broadcast was catching up on Doraemon on CCTV, foreign animations like Pokémon have already been popularized worldwide spawning $15 billion in sales.[22] The commercialization and innovation of Japanese and American animations pushed the traditional Chinese animations out of the market. Complaints have been heard throughout the 90s about the problems facing Chinese animation. Numerous artists even ended up adopting into American and Japanese animation styles, with more noticeable changes in manhua work.

Shanghai Studio Director Jin Guoping:

By the end of the millennium, the Internet opened up the Chinese animation industry a great deal. Software such as Adobe Flash and venues such as YouTube and clones thereof allow for independent animators to produce Webtoons by themselves as long as they have a computer and an internet connection. More expensive animation products from Autodesk, Newtek and Adobe were on the horizon for animation schools to adopt. When Xiao Xiao was released on the internet it draw many attention one of the many famous Chinese webtoon.

CGI special effects increased to the point where many new Chinese animation movies and series had begin to adopted by mid-2000s with some example of DragonBlade: The Legend of Lang, Century Sonny, etc.

In 2011, 261,444 minutes of television animation were produced in China[24] and in 2012, China produced 33 animated films.[25]

数字时代(1990– )

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当中国迎头追赶中国中央电视台中放映的多啦a梦时，国外的口袋妖怪风靡全球，创造出150亿美元商业价值。[26]美国和日本的已商业化的和富有创新精神的动画片将中国传统动画从市场中挤出来。在整个20世纪90年代，中国动画遭遇到困难，抱怨声层出不穷。大量艺术家甚至结束了以前的画风，吸收了美国和日本的画风，在漫画上做了很大的改进。

上海电影制片厂的导演金国平：

在上世纪末期，因特网打开了中国动画产业形成新的跨越。类似于Adobe Flash的软件和YouTube的平台，这种基因允许独立工作的动画师自行生产网络动画就像他们和电脑、因特网的联系一样悠久。更多价值昂贵的动画改为Autodesk, Newtek 和Adobe的范围内被动画学院采用。当中国著名网络动画之一的小小作品从网络问世，引起一些人的注意。

电脑生成图像带来特殊的重要的影响，一些新的中国动画电影和连续剧吸收了21世纪第10年代中期的一些例子，比如龙刀奇缘,精灵世纪等。

在2011年，中国动画片产量达到261,444分钟，[28]，2012年，中国生产出33部动画电影。[29]

See also

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参见

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References

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  1. ^ 1.0 1.1 Needham, Joseph (1962). Science and Civilization in China, vol. IV, part 1: Physics and Physical Technology. Cambridge University Press. p. 123-124.
  2. ^ 2.0 2.1 Rojas, Carlos. The Oxford Handbook of Chinese Cinemas. Oxford University Press. 2013: 5. ISBN 978-0-19-998844-0. 
  3. ^ 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 Animation History transcribed from Jilin School of Art. "CCTV." Animation History. Retrieved on December 19, 2006.
  4. ^ 4.00 4.01 4.02 4.03 4.04 4.05 4.06 4.07 4.08 4.09 4.10 4.11 4.12 4.13 Qing Yun. "Qing Yun." Qing Yun.com. Retrieved on December 19, 2006.
  5. ^ China Movie DB. "CnMDB." Uproar in the Studio. Retrieved on December 22, 2006.
  6. ^ 6.0 6.1 6.2 6.3 6.4 6.5 6.6 6.7 Cartoon World. "Cartoon World." ZZU.edu. Retrieved on December 19, 2006.
  7. ^ China Movie DB. "CnMDB." Uproar in the Studio. Retrieved on December 22, 2006.
  8. ^ China's Movie 114. "China's Movie 114." Emperor's Dream Info. Retrieved on December 19, 2006.
  9. ^ China movie cnxp. "Movie: Go with the Prey." China movie cnxp. Retrieved on December 19, 2006.
  10. ^ China's Movie 114. "China's Movie 114." Emperor's Dream Info.查阅于2006年12月19日
  11. ^ China movie cnxp. "Movie: Go with the Prey." China movie cnxp. 查阅于2006年12月19日.
  12. ^ China Classic Game. "China Classic Game." Cartoons of China. Retrieved on December 19, 2006.
  13. ^ History of Animation in Chinese Culture. "China Culture." Chinese Animations show the midas touch. Retrieved on December 19, 2006.
  14. ^ China Classic Game. "China Classic Game." Cartoons of China. Retrieved on December 19, 2006.
  15. ^ History of Animation in Chinese Culture. "China Culture." Chinese Animations show the midas touch. Retrieved on December 19, 2006.
  16. ^ China movie database. "Movie: Little Trumpeter." China movie database. Retrieved on December 19, 2006.
  17. ^ China movie database. "Movie: 8th Route Army." China movie database. Retrieved on December 19, 2006.
  18. ^ China movie database. "Movie: Little Sentinel of East China Sea." China movie database. Retrieved on December 19, 2006.
  19. ^ China movie database. "Movie: Little Trumpeter." China movie database. Retrieved on December 19, 2006.
  20. ^ China movie database. "Movie: 8th Route Army." China movie database. Retrieved on December 19, 2006.
  21. ^ China movie database. "Movie: Little Sentinel of East China Sea." China movie database. Retrieved on December 19, 2006.
  22. ^ Pokemon Franchise Approaches 150 Million Games Sold. Nintendo. PR Newswire. October 4, 2005. 
  23. ^ New York Times December 2004. "NY Times." "China Hurries to Animate Its Film Industry." Retrieved on December 20, 2006.
  24. ^ Statistical Communiqué on the 2011 National Economic and Social Development. stats.gov.cn. National Bureau of Statistics of China. February 22, 2012 [2012-09-05]. 
  25. ^ Patrick Frater. China BO exceeds RMB17 billion. Film Business Asia. 2013-01-10 [2013-01-16]. 
  26. ^ Pokemon Franchise Approaches 150 Million Games Sold. Nintendo. PR Newswire. October 4, 2005. 
  27. ^ New York Times December 2004. "NY Times." "China Hurries to Animate Its Film Industry." Retrieved on December 20, 2006.
  28. ^ Statistical Communiqué on the 2011 National Economic and Social Development. stats.gov.cn. National Bureau of Statistics of China. 2012-02-22 [2012-09-05]. 
  29. ^ Patrick Frater. China BO exceeds RMB17 billion. Film Business Asia. 2013-01-10 [2013-01-16]. 
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