Chinese Animated Films Research Articles

Analysis of Shanhaijing Elements in Ancient Chinese Mythological Animated Films

Ancient Chinese mythology plays an important role in the classic work of Shanhaijing. This thesis aims to explore the inheritance and innovation of mythological elements in animated films by analysing the elements of Shanhaijing in ancient Chinese mythological animated films. Through the observation and study of several ancient mythological animated films, this paper finds that the elements of Shanhaijing have been widely used in animated films, such as the portrayal of birds and beasts, mountains and rivers, gods and immortals, and other images. In addition, the animated films have also adapted and created the Shanhaijing stories, incorporating them into new storylines to meet the needs of modern audiences for animated films. This paper argues that the success and popularity of animated films based on ancient myths is due to the use and re-creation of the elements of the Shanhaijing, which makes these ancient myths take on a new vitality.

A Study on the Translation Strategies of Chinese Culture-loaded Words: Taking the Subtitle Translation of the Film " Big Fish& Begonia " as an Example

Chinese animation film originated in the 20th century, and after a difficult process of exploration, it gradually developed in the 21st century. It is well known that film is one of the most widespread and influential art forms, and Chinese animated films are, as a rule, more loaded with numerous traditional Chinese cultural elements than ordinary films. Therefore, launching Chinese movies out of China is an effective way to spread China's excellent traditional culture, translation of culturally loaded words in movie subtitles determines whether the cultural export will be successful. On this premise, this paper will take the Chinese animated film Big Fish & Begonia as an example, analyze the translation strategies of culturally loaded words in the context of the characteristics of subtitle translation, summarize the desirable features of the translation strategies adopted, and at the same time point out the shortcomings and propose modifications to inspire the use of culturally loaded words translation strategies in the subtitles of Chinese animated films in the future, to promote the dissemination of excellent Chinese traditional culture.

The Research of the Attention from Chinese Animation Film Deep Sea on the Depression Group

Based on the increasingly prominent problem of depression and the gradual rise of the Chinese animation film market, this research chooses the film Deep Sea to conduct its research on the concern and discussion of the depression group. The study adopts a three-stage quantitative research, observes and analyzes the film. From the small to the large, the author obtained information on how the film portrays patients with depression. Then the author conducted comparative analysis, causing excavation and further inference. On the basis of previous studies, this study filled in research gaps in previous research on group refinement, focusing on the depression group. The psychological theories of Freud and Adler are used for analysis. This is of great significance for making psychological films, helping people with mental illness to heal, exploring the influence of media on audiences, and how to make full use of media resources. The whole study is both inheritable and innovative.

Appreciation of Movie Subtitle Translation in Chinese Animation Film ---- Take Legend of Sealed Book as an Example

Chinese animated films have gradually become an important approach to taking Chinese culture to the global stage with the rise of domestic animation in recent years. As a result the subtitle translation of animated films has attracted more and more translators to focus on. Successful subtitle translation to effectively promote intercultural communication not only enables the target language audience to correctly understand the trait of characters in the film but also helps to grasp the theme. This paper discusses the strategies of subtitle translating in animation movies with the analysis of specific examples in Legend of Sealed Book which can provide references for the study of subtitle translation of Chinese animation movies. The author will analyze the translation of subtitles from following aspects time and space limitation, multidimensional information coordination, language style positioning and cultural load word processing.

The Demon Child and His Modern Fate: Reconstructing the Nezha Myth in Animated Fabulation

Emerging from the 17th-century Chinese classic Fengshen yanyi ( Creation of the Gods), a generic mixture of myth, folklore, history and legend, Nezha, a 7-year-old superboy who is decreed by fate to return his own flesh and bones to his parents and unyieldingly confront paternal authority in combat, has been popularized as an unconventional hero in animated adaptations since the 1970s. This article examines the cultural and historical significance of Nezha’s changing fate in the three Chinese animated feature films produced thus far: Nezha Conquers the Dragon King (Wang et al., 1979), Nezha (Jiaozi, 2019) and New Gods: Nezha Reborn (Zhao, 2021). The author argues that Nezha’s variations of personal individuation reflect China’s shifting historical contexts, changing intergenerational relations and reconfigured notions of selfhood by presenting an existential paradox of fate and freedom of action that ultimately preserves the social systems of patriarchy and filial piety, and puts forward a negotiated compromise between social collectivism and individualism. Combining theories of intertextual aesthetics with Gilles Deleuze’s conceptualization of fabulation, the study proposes a conceptual framework of ‘animated fabulation’ to account for the profound interaction between the literary and the cinematic, the social and the mythic, with a detailed analysis of the aesthetic and socio-political entanglements in the three animated adaptations.

The Impact of Big Data Technology on the Scale Management of China’s Animation Film Industry

With the development of science and technology, social networking and digital media technology are also constantly developing. Handheld mobile smart terminals have been continuously promoted and popularized. The promotion and popularization of network and digital media technology bring convenience to people’s life and work. People can use their leisure time to shop online and watch related videos. The advent of the Internet era has promoted the development of China’s industry. The era of big data is coming. Big data analysis brings enormous value to all occupations. At the same time, it has brought new developments to Chinese animation films, realizing the marketing and development design of animated films. At the same time, big data has also brought opportunities for the development of the Chinese animation film industry. The application of big data brings a foundation for China’s animation film industry. From investment and financing, topic development and design, marketing promotion, and distribution and development of derivative products, big data brings huge value to the entire industry chain. However, big data is not omnipotent, and there are certain problems in the use of big data in Chinese animation films. At present, the application of big data in China’s animation film industry also has limitations and practical difficulties. Based on this, this paper focuses on discussing and analyzing the historical status of China’s animation industry. Moreover, it analyzes the future development prospects of the animation industry and other related contents. It is hoped that the brief analysis in this article provides some reference and inspiration for relevant practitioners.

Beyond the Context of Cultural Confidence: A Study of Communication Competence of the Chinese School

Chinese animated films such as Monkey King: Hero is Back in 2015, Big Fish & Begonia in 2016 and Ne Zha: I am the Destiny in 2019 won higher box office and they achieved a similar popularity as the Wolf Warriors (2015 and 2017) in China’s film market. Perhaps partially because these animations bring audience a sense of familiarization such as they reveal popular culture and collective beliefs (i.e., “I’m the Destiny” as a slogan) to promote cultural identity. On the other hand, the making of Chinese animated films has been gradually getting mature in narration, adaptation, and creation. Both the production mode and the industrial scope have been formed to compete with Japanese anime and American cartoons. Though there are still many problems in making Chinese animations, Chinese School has been working on interpretating and deconstructing the essence of Chinese culture in their animated works. This attitude also marks Chinese School’s determination to disseminate Chinese culture so as to rebuild its confidence towards the animation world.

The “Old Tales Retold” of Pre-Qin Mythology-- On the cultural consciousness of the Book of Mountains and Seas in the 21st century Chinese animation films

For a long time, the studies of The Book of Mountains and Seas is mainly carried out around text study, images evolution and the romantic spirit, little attention is paid to the national emotion and cultural consciousness behind the mythological narration. Based on the reconstruction of mythological elements in Chinese animated films in the 21st century, this paper expounds the transformation of mythological narration in the contemporary context, compares and explores the inheritance and innovation in the “new stories” of mythological narration, and clarifies the necessity of establishing cultural self-confidence through the new narration of Chinese mythology.

In Early Chinese Animated Films: The Presentation of Life View

The theme of Chinese animated films gives a rich orientation as we reach the post-epidemic age. Re-examining the expression of life in early animated films can assist encourage the viewer to build a positive outlook on life in the face of the epidemic’s impact. Chinese animated films express people’s entire view of life to some extent after experiencing the ups and downs of development, stagnation, and RE development. At the same time, in early Chinese animated films, the concept of a life full of fighting spirit and passion helps to guide the viewer in developing a positive sense of life in the post-epidemic era.

Export of Chinese Animated Film:A Case Study on Nezha

The box office of Chinese films is growing, and domestic films have made a great contribution.Chinese films has also becoming an important component of Chinese cultural exportation. Animated films have advantage of having wider audience, which can convey national values more gently and shape the national image imperceptibly. This paper took the animated film "Nezha", which was a dark horse at the domestic box office, as an example to analyze the advantages and disadvantages of Chinese animation film in cross-cultural communication. The study found that although technique and animation visual effects received good commonts from the overseas audience, the cultural barriers and the lack of commercial publicity was still a constaint for Chinese animated films.

Reviewing the Translation of the Chinese Animation Film Ne Zha: Birth of the Demon Child in North America from the Perspective of Eco-translatology

Reviewing the Translation of the Chinese Animation Film Ne Zha: Birth of the Demon Child in North America from the Perspective of Eco-translatology

How narrative techniques attract young parents: The refiguration of Logger Vick in the Chinese 3D animated film, Boonie Bears: To the Rescue

This article analyses the screenwriting of Boonie Bears: To the Rescue (2014), a film version of the Chinese 3D animated adventure TV series, Boonie Bears. The child-oriented principle of storytelling is one of the most distinctive features of full-length Chinese animated films, especially those produced over the past decade. Within this context, Boonie Bears: To the Rescue epitomizes how Chinese animators are striving to expand the scope of their target audience from children to parent–child groups through the development of narrative competence. This article explores how the arrangement of narrative techniques helps to attract young parents (in their late 20s and early 30s) to cinemas while also retaining the child audience. These endeavours are primarily represented by the refiguration of Logger Vick, the main antagonist in the Boonie Bears animated TV series, who is transformed from a thoroughly wicked villain to a living, ordinary person who could be considered to be the ‘spokesperson’ for young Chinese adults. In this way, the screenwriting techniques in the film strike a responsive chord in the hearts of its adult viewers, thereby broadening the range of its original (TV series) target audience.

Research on the Operation Scheme of Chinese Animation Film Industry

Although China s animation industry has been developing for a long time, it has been developing slowly. With their own continuous efforts to slowly find the direction. In recent years, China s animation industry has developed rapidly, and more and more excellent original domestic animation films have appeared. Behind the success of these animated films is not only the improvement of the quality of animation itself, but also the success of cross-border integration of the animation market. Judging from several successful low-budget animations and successful animated films in recent years, the success of animation requires not only high-quality animation production, but also the basic factors of the market. The development of Chinese animation in recent years is due to those successful animation works. However, in view of China s huge market, the market demand and commercial value of the animation industry are relatively large, so the number of excellent animations is far from enough, and the market needs more excellent animation works. From the animation development process to find experience and improve the animation industry development methods. This paper mainly analyzes the development process of China s animation film industry market, seeks experience from the relatively successful animation and puts forward feasible plans.

Tang Cheng: The first female animation screenwriter and director in the People’s Republic of China

Tang Cheng (唐澄) (1919–86) was one of the most accomplished and versatile animation practitioners in the history of Chinese animation and the first female animation scriptwriter and director in the People’s Republic of China (PRC, 1949–present). Animation in the PRC was once famous for its ‘Chinese school’ aesthetics, in which female professionals influenced all dimensions of the form, from animation techniques to aspects of narration and artistic style. Tang Cheng was best known for directing or co-directing representative Chinese school animated films. However, her early career in animation screenwriting has been largely forgotten. This article not only highlights her role as a scenarist commissioned to write the screenplays of the didactic fairy tales Old Lady’s Jujube Tree (1958) and Radish Is Back (1959) but also analyses how the spirit of collectivism and childlike simplicity revealed in her screenwriting affected her later directorial productions such as Little Tadpoles Looking for Mother (1961), Havoc in Heaven (1961, 1964) and The Deer Bell (1982).

중국 신화 애니메이션 영화 너자(Ne Zha) 복식의 상징 분석 -색채와 문양 중심으로-

중국 신화 애니메이션 영화 너자(Ne Zha) 복식의 상징 분석 -색채와 문양 중심으로-

A Chinese Cinematic Style of the Film Big Fish and Begonia

“Big Fish & Begonia” is a Chinese fantasy animated film directed by Liang Xuan and Zhang Chun, which took 12 years to complete. It has been well received at home and abroad. This paper analyzes the film from six aspects: ancient culture, ancient charm, ancient modeling, new concept, new fashion and new design. It is found that the film has made breakthroughs and innovations in technology, creativity, theme, and animation skills and catered to audience of all ages, but there are also some shortcomings such as poor rhythm and weak narrative. It is suggested to strengthen the connection between Chinese elements and stories, and to create enough emotion and plots before the climax. The research may shed some light on the development of Chinese animated films.

A study on the presentation and influence of pan-anime culture in Chinese animated films

Taking the influence of pan-anime process on the animation creation and animation industry in China as the research object, through the multi-angle analysis of the trend in the works in recent years by domestic animation creators, the study attempted to provide some advice for integrating pan-anime culture more naturally into the creation of the current domestic animation film and narrative mode and provide some help for catering to the preferences of pan-anime audience under the new pattern.

中国喜剧动画与喜剧爱情电影的海报设计研究

中国喜剧动画与喜剧爱情电影的海报设计研究

中國動畫電影『大魚海棠』的水意象研究

中國動畫電影『大魚海棠』的水意象研究

中国动画电影的民族化美学风格

中国动画电影的民族化美学风格