Study On National Problems Of Domestic Full-length Animation

Domestic animation has formed Chinese Cartoon in mid-20th century. They has created classical works which has rich national style, such as Monkey King, Nezha Conquers The Dragon King,etc.These works brought profound influence to many international reputation of foreign animators afterwards. From the1980’s to the early1990’s, a few reputed full-length animation works could not prevent domestic full-length animation declining gradually.China’s animation market is gradually occupied by Japan and USA. The deficiency of nationality is the major factor contributing to decline of domestic full-length animation, and also makes China’s animation lose discourse power in the world. In the last decade, China’s animation continues to hover in the low valley. Although there are some precious progresses, but still have difficulty in taking a step and there are many problems. Our research on full-length animation is very few. This is the weak link of the animation theoretical research. Therefore the analysis and research which make the domestic full-length animation works as the basis and from a view of the animation nationality is significant for domestic animation.This article includes five chapters. Chapter one is an Introduction. This part mainly introduces the origin, current situation, contents and innovation. Chapter two makes detailed analysis about the formation and development of domestic full-length animation’s national style. Here will be elaborate five stages which is national style of formation, development, maturity, lost and gradually recovering. And then chapter three elaborates some specific rendering of domestic full-length animation’s nationality. This chapter is the focus of this paper. This chapter attempts to explore from the national characteristic theme, national culture symbol and traditional narrative of the three major aspects. First, animation’s nationality always renders on the theme. A variety of classical culture resources of China has always been the advantage which other counties has been unreachable. It provides a steady flow of energy for the full-length animation’s topic. Second, Chinese culture also brings cultural symbols which have national characteristics. As long as the animators use the character, modeling, animated background, music and so on, this cartoon will attract viewers and get good praise. Third, ancient Chinese literary men pay attention to Opening, Developing, Change, Conclusion and Conflict. The animators absorb and use the narrative mode, so it can make the works more exciting and satisfy the audience’s aesthetic taste. Finally, chapter four makes a summary and put forward some thoughts on the future development of domestic full-length animation though the analysis of the previous chapter. This part put forward some effective suggestions for how to restore the national style and reforming the domestic full-length animation. For one thing, the domestic full-length animation cannot lack the nationality, but also should be with the times. For another,"Qin Shi Ming Yue" and other domestic full-length animation’s success also tell us that establishing the correct creation concept and positioning is the necessary factor. The last, if the domestic full-length animation wants to regain the power of the discourse in the world, the innovation is urgent affairs.