使用者:晾衣杆/草稿11

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.

中國動畫的歷史可追溯到20世紀早期的中華民國，這時，人們被動畫的主意給吸引了。一個漫長的歷史串聯起藝術，政治甚至改變了經濟。

Early history

In the first century BC, the Chinese craftsman Ding Huan (丁緩) 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.

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 (從墨水瓶里跳出來), known today as Out of the Inkwell.

早期歷史

在公元1世紀，中國工匠畫家丁緩創作一種方法"一些陌生的鳥類和神秘動物畫在紙上"，被叫做"自然流逝的動畫"，但是還不清楚行為歷史學家（devices historian）李約瑟把它叫做 "變化的西洋鏡" （a variety of zoetrope）發明了所有動畫錯覺或簡單的起重要作用的或簡單的機械化的圖形在空間中運動。.

現代動畫產業起源於1888年的巴黎，埃米爾·雷諾發明了現代動畫。中國動畫在20世紀20年代出現，在法國，德國，俄國和美國大部分作品的影響下產生。1918年，第一部外國動畫在上海出現。這是一部名叫「從墨水瓶里跳出來」的美國動畫。

Exploration periods (1920s–1945)

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.

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 running 10 to 12 minutes long in black and white. 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. By 1932 one of the Wan brothers, Wan Di-huan, would voluntarily leave the Great Wall Film company for his own photography studio. 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) 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. 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. 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.

探索時期(約1920–1945)

Princess Iron Fan

在1922年，萬籟鳴製作出第一份卡通廣告舒振東華文打字機。隨後就有了動畫短劇狗請客。上海菸草公司也生產出一個動畫過年。這些都是最初比較有名的動畫短劇。

在1926年，萬氏4兄弟,萬籟鳴，萬古蟾，萬超塵和萬滌寰在中國的長城畫片公司工作，不要與長城電影製片廠混淆。萬籟鳴，萬古蟾是能被確定的中國動畫先驅，他們製作了第一部動畫短劇大鬧畫室。時長為10至12分鐘用黑白膠片。 兄弟們相信中國動畫具有在娛樂中的包括教育意義，邏輯性，引起思考。他們想要強調中國動畫的風格在發展中具有獨特性。電影結合生活的2d鏡頭在當時是共同的趨勢。一些最先到達上海的美國動畫大力水手，以及類似勃比小姐一樣出名的。

1935年，萬氏兄弟著手生產第一部題為有聲動畫駱駝獻舞。 四年後的1939年，美國迪士尼的白雪公主也被介紹到上海，引起巨大的轟動。1941年，中國第一部著名長篇故事片鐵扇公主在非常艱難的處境下（中國抗日戰爭和第二次世界大戰），它使用轉描機技術。當今原版的Betty Boop一樣。在當時日本動畫覆蓋了很大的進步，它們沒有在藝術、地理方面直接影響中國。在日本入侵時期，兄弟生產了20部動畫宣傳短劇把焦點集中於各種愛國性抵抗，反抗日本軍隊, 鴉片和帝國主義。

Steady development (1946–1949)

On October 1, 1946 a northeast motion picture studio was established in the Nenjiang province (龍江省興山), known today as the Heilongjiang province. It is the first known studio established by a communist party. In 1947 productions such as Emperor's Dream used puppets in an exaggerated way to expose corruption of the Kuomintang Chinese nationalist party. 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). 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.

穩定發展（1946-1949）

在1946年10月1日，東北電影製片廠（a northeast motion picture studio）在嫩江省的興山建立起來，今屬黑龍江省。這是至今所知的第一個由共產黨建立的電影製片廠。1947年的產品有使用木偶戲皇帝夢 ，運用誇張的手法揭露了中國國民黨的腐敗。.在木偶電影中使用政黨內容變得可以接受，動畫師注意到了他們的成功。一個紀實性的卡通可以追溯到瓮中捉鱉（1948）。 1948年 ，東北電影製片廠改名為上海電影製片廠（Shanghai Picture Studio Group）。1949年10月1日，中國進入了毛澤東為領導的社會主義陣營。

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

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. 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. 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. 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.

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. 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.

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" (百花齊放，百家爭鳴). Mao has publicly admitted that promoting new art forms and institutions was vital to the new China. Though with time, his political campaign would prove to be a major backlash to the industry. Putting an end to the golden era.

成立美術電影製片廠(1950–1965)

Why is the Crow Black-Coated

在1950年2月，東北電影製片廠聯合其他部門一同成為上海美術電影製片廠的前身。萬氏兄弟，中央美術學院,蘇州藝術學院和很多有名的藝術家都在製片廠第一次聚集。日本的天才動畫師持永只仁在上海花費時間創作了Thank You, Kitty。三年後他回到日本，作為這一時代唯一一位在中國和日本的動畫產業都工作過的藝術家。1956年，萬氏兄弟創作了第一部彩色動畫值得注意的是採用長標題烏鴉為什麼是黑的，作為所公認的第一部國際化的中國動畫。

在1957年4月，中央政府開始支持製片廠，讓它作為國家第一個官方動畫工廠。從世界的技術來看，中國的動畫仍然腳步相對緩慢。在1958年，萬氏兄弟使用了新的動畫電影技術-民間的剪紙藝術製作了豬八戒吃西瓜。與此同時，另一項民間的摺紙技術也被虞哲光發展，使用於電影聰明的鴨子。 在1960年，第一次動畫電影展覽在6座主要城市舉辦，包括北京、上海，緊接著展覽1962年來到香港，1963年來到澳門。

當普通市民中廣為人知後，萬氏兄弟的電影大鬧天宮收到了最大的讚譽。發展跨越了1961年至1964年共四年時間。它播放了2小時，技術突破一些鮮艷顏色的限制，甚至移到了大屏幕上。

可以說的是在短片播放，上海美術電影製片廠嚴格地擴大了毛澤東的反右運動，遵循類似「百花齊放，百家爭鳴」的言論。毛澤東公然承認了新美術作品和體系對於新中國是重要的。從此開始，他的政治運動顯示出對動畫產業的強烈反應。黃金年代結束。

Cultural Revolution interference (1966–1976)

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. The persecutions would grow exponentially worse from 1966 to 1972, labeling the period "catastrophic" for the industry.

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. Other animations from the same year include Little 8th Route Army, a story about a boy taking on revenge against the Imperial Japanese Army. 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.

文化大革命的衝擊(1966–1976)

動畫被認為是一個奇蹟性的技術進步直至文化大革命在1967年全面爆發。這時的毛澤東促進動畫產業的發展只是在當時背景之下，它是一個有用的政治宣傳的工具為了他的百花齊放、百家爭鳴.他送出一份很危險的信給動畫產業，自從他的政權允許言論自由，迫害那些與他的政黨持不同見解者。革命廣泛地在紅衛兵的破壞就像十字軍東征一樣，破壞了遺蹟，古董，繪畫，書籍所有與他們的價值觀相衝突的。一些藝術家受到羞辱，被集中派去農村當農民，接受「再教育」或進監獄。一些電影和文學產業的著名藝術家被迫自殺或者被羞辱。大多數動畫師不允許寫字,而且要參加集中勞動。迫害的人在1966年到1972年成指數形增長，情況更糟糕了，給動畫產業貼上災難性的標籤。

中國動畫產業尤其是在十年間陷入停滯直到1976年文革的結束。剩餘時間的動畫在毛澤東的深厚讚許之下，如果沒有得到他的恩寵。動畫作品有1973年的小號手，名叫「小勇」的小男孩成為了一位紅衛兵。同一年出品的還有小八路，故事講述了一個喜歡對大日本帝國陸軍進行報復的男孩。還有東海小哨兵，故事講述一個名叫金大鈴（音譯：Jiedaling）的小女孩偷偷跟隨3名化學戰爭工作者（chemical warfare workers），請求中國人民解放軍消滅敵人的故事。

Reform period (1978–1989)

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. 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.

改革開放(1978–1989)

在1978年，文化大革命是重大的事件，很明顯損害了中國的動畫事業。這很明顯標誌著中國排名的下滑。在1960年到1989年這20年內從電影院的角度來觀察，香港從美國進口了大量卡通。美國的部分經典卡通在主要放映的影院，出現在美國電影的片頭。有時，部分卡通還會被整體播放。米高梅或迪士尼的電影大多出現在另一迪士尼動畫之前。

站在動畫的來源的角度上看，日本已成為動畫在遠東地區的主要生產基地。他們輸出電視動畫到香港，歐洲和中東國家，大量經過播放的同類節目直接送回家鄉。一些比較有名的節目類似於神奇寶貝和變形金剛，在歷史上，後者伴隨著一款最成功的超能勇士 (玩具)。與中國不同的是，它會直接參與國內競爭或者在熒幕上競爭。

儘管如此，中國的動畫產業也在新的政策下重新開始。上海美術電影製片廠在20世紀80年代製作219部動畫電影。1979年的哪吒鬧海標誌第一部新生時期的動畫片。 雪孩子 (1980), 嶗山道士 (1981), 鹿鈴 (1982) and 天書奇談 (1983). 期間的課題 三個和尚 (1980) 和山水情 (1988)

The Digital era (1990–present)

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. 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:

“ Before 1993, whatever you made was decided by Beijing, the government decided how much product you would make and how much income you would have. ”

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 and in 2012, China produced 33 animated films.

數字時代(1990– )

當中國迎頭追趕中國中央電視台中放映的多啦a夢時，國外的神奇寶貝風靡全球，創造出150億美元商業價值。美國和日本的已商業化的和富有創新精神的動畫片將中國傳統動畫從市場中擠出來。在整個20世紀90年代，中國動畫遭遇到困難，抱怨聲層出不窮。大量藝術家甚至結束了以前的畫風，吸收了美國和日本的畫風，在漫畫上做了很大的改進。

上海電影製片廠的導演金國平：

“ 在1993年之前, 無論你做出的動畫如何，北京政府都會決定你生產出什麼產品，你就會的到什麼樣的收入。 ”

在上世紀末期，網際網路打開了中國動畫產業形成新的跨越。類似於Adobe Flash的軟體和YouTube的平台，這種基因允許獨立工作的動畫師自行生產網絡動畫就像他們和電腦、網際網路的聯繫一樣悠久。更多價值昂貴的動畫改為Autodesk, Newtek 和Adobe的範圍內被動畫學院採用。當中國著名網絡動畫之一的小小作品從網絡問世，引起一些人的注意。

電腦生成圖像帶來特殊的重要的影響，一些新的中國動畫電影和連續劇吸收了21世紀第10年代中期的一些例子，比如龍刀奇緣,精靈世紀等。

在2011年，中國動畫片產量達到261,444分鐘，，2012年，中國生產出33部動畫電影。

See also

• Chinese animation
• List of Chinese animated films
• History of animation
• History of anime

參見

• 中國動畫
• 中國動畫電影列表
• 動畫歷史
• 動漫歷史

References