Date: July 2, 2007109:10 Source: Nanfang Daily Editor: Wiseman
Transformers are here.
It can be predicted that at least in 2007, the box office popularity of movies is unparalleled in China. According to industry estimates, the movie most likely to break the current box office record in China is Transformers (the original record was held by Titanic).
But if we look at the story source of this film, it is just an animation. However, this American cartoon has earned at least 5 billion profits from the mainland in recent years, not counting the upcoming box office of several hundred million.
Many people envy Hollywood, and many people envy American cartoons. Everyone marvels that Americans have the strength to make a cartoon so profitable, but few people still remember that in fact, we once had the opportunity to be like them.
It seems that few people still remember that July this year is the 50th anniversary of the establishment of Shanghai Animation Film Studio. The only art film studio in China was almost as popular as Disney in the 1960s-just one movie, Make a scene in Heaven, has made the world sit up and take notice. It is particularly worth mentioning that the Chinese ink animation, which was born in 1959, has the artistic expression technique with China characteristics, which once surprised the world and was regarded as a national treasure.
Furthermore, Snow White, the first feature-length animated film in the world, was born in 1937. The earliest animated feature film in China, Princess Iron Fan, the predecessor of Shanghai Film Studio, was actually born in 194 1. Osamu Tezuka, the originator of Japanese animation, was deeply moved by the image of the Monkey King who was "armed with a golden hoop and fought thousands of miles" after the China animation Princess Iron Fan was first staged in Japan 40 years ago. He gave up his career as a doctor and picked up a brush, thus giving birth to Astro Boy, an excellent Japanese animation that caused a sensation in Japan and swept China. It can be said that until the 1960s, our animation products were not only comparable to those of the United States and Japan, but even had many advantages.
Our animation industry started very early, but after 70 or 80 years of development, it is still in the "embryonic stage" in the eyes of experts-American Disney people. This is undoubtedly a somewhat absurd thing. But this is a fact, our animation products, although the length of time is increasing, can make little profit.
Some people attribute this phenomenon to the suppression of similar foreign companies-because the domestic animation market in the United States and Japan tends to be saturated, in order to enter the China market, foreign companies usually sell films at extremely low prices, and some even do not exceed 5 yuan RMB per minute. Wang Zhanhai, director of the research department of China Television Artists Association, believes that the monopoly of foreign cartoons on the domestic market has led to the loss of a series of derivative products such as film and television production, broadcasting, audio and video, cartoons and the Internet. The low-price offensive strategy of foreign cartoons has caused the "conventional" low-price consequences in the domestic market.
But it is undeniable that domestic animation is still too rigid in action. Too many manufacturers, including Guangdong animation industry, which has become the second largest animation industry in China, still stay in the situation that "animation works enter TV stations for broadcasting" in exchange for government subsidies, and then develop downstream products. Of course, the normal state of the animation market is like this. Producers make cartoons, agents sell them, and film and television systems play them. Enterprises buy animation products, develop derivative products, and merchants sell products. But if it is all this routine, the way out for animation companies is not great. Because in China, after making cartoons, except for playing this link, producers are mostly in a passive situation, unable to participate in the system cycle in time, leading to the failure of cartoon investment behavior.
What's more, at present, domestic cartoons are completely "original" without exception, and rarely take comics, novels, series and other cultural forms as direct blueprints. Last year, Japan's annual comic list showed that among the most popular 10 featured comics, 8 were among the top 10 most popular comic works, and comic fans enjoyed the dual consumption of animation and comics. And our enterprise is still blank in these aspects.
What does China Animation lack? Lack of market? This is absolutely a failure. Since foreign enterprises can make a lot of profits from China, so can China people themselves. Lack of support? This is also an ambiguous statement. In Guangdong alone, the annual government subsidies to the animation industry are as high as several hundred million yuan. Lack of talent? Many experts don't think so either. Desai Lu, a Chinese director of Garfield in the United States, and Astro Boy in Japan have all said that there are many animation talents in China, and the industry has not developed, which is definitely not a problem of lack of talents. Since there are a lot of talents, problems such as "creativity" related to talents should naturally not exist.
Zhen, vice president of Disney Asia Pacific, replied: there is not enough time. Although this answer is somewhat cunning, it seems to reporters that it is somewhat evasive and superficial, which is quite a cover for Disney's expansion in the mainland, but it is also true. We have a long time, but we also wasted a long time. It will undoubtedly take time for any industry to establish its own classics and create its own brand. After we once owned the classics, it took us almost 20 years to give up our own brand.
20 years is enough for a generation of teenagers to grow up. Therefore, China's animation industry now happens to have such a "missing generation".
There are many things you can do when you are short.
Interview with Zhen, Vice President of Asia Pacific Region
China Animation: Give it environment, give it time.
On July 1 1, Transformers, the film with the highest investment in the history of the world, was released in China. This work, which was adapted from the animation of the same name in the 1980s, snatched millions of RMB in China within a few days, and the box office momentum was almost equal to that of Titanic, the record holder of imported films. From July 6th to July 22nd, 2007, Guangzhou (International) Animation Festival will be held in Liu Hua Pavilion of China Import and Export Fair, which is another large-scale animation exhibition in Guangzhou in recent years. For anime fans in China, July is undoubtedly an exciting month.
Although animation activities are in full swing, the current situation of animation in China is still not so optimistic. On the whole, on the one hand, the number of domestic animation products is increasing, and governments at all levels are also giving strong support in various forms. On the other hand, a huge market gap still exists, and the downstream product market related to animation products still shows no signs of maturity. How to make their own animation products really make money is also the biggest problem in front of many animation companies.
What is even more worrying is that although China animation is still in the "cradle period", foreign enterprises have paid great attention to it, and some measures they have taken have now had a great impact on the development of the local animation industry. Most typically, on June 29th, an animated live-action movie "The Secret of Baohulu" adapted from Zhang Tianyi's novel of the same name was shown in many cinemas in China. This film can be regarded as the first step for Disney, the most successful animation company in the world, to enter the China market. Fully made in China and fully Disney-style marketing, statistics from the distributor China Film Group show that the secret of Bao Hulu earned $5.54 million at the box office in the first three days of the weekend, which is a "Hollywood" level-the same as the first weekend results of Finding Nemo, Superman and Car Story.
Domestic animation is not yet mature, and Disney has taken action-of course, as an enterprise with countless successful experiences for decades, they will not fight unprepared. A few days ago, the reporter interviewed Mr. Zhen, the vice president in charge of animation production and marketing in the Asia-Pacific region. The veteran who has been engaged in animation for decades said that in his opinion, China animation will not shrink because of Disney's intervention, but the development of this industry must be done slowly. In addition to creating the necessary environment, it takes equally necessary time.
China Animation? You should learn to tell stories first.
Reporter: Guangzhou International Animation Festival will open in July. At present, many mainland governments are supporting the animation industry and are keen to hold animation festivals and similar activities. In your opinion, how helpful is this mode of animation festival to the development of animation industry in mainland China?
Zhen: Animation Festival is a good way of communication. At present, the animation industry in China is in a stage of rapid development. The more communication with the outside world, the more different stimuli, the more favorable it is for the development of China animation industry. In fact, in the early years, such as around the 1960s, the classic domestic cartoons were well done. At that time, the image of Monkey King was very popular in America. It can be said that before this, China's cartoons were even on the same level as Disney's. But after 1960s, China's animation was in a passive or even stopped state. Now that we have an open environment, we should make more use of animation festivals and other forms to communicate, which is a good opportunity for the animation industry in China.
Reporter: There have always been two voices in the animation industry in China: "Learn from Europe and America" and "Learn from Japan". In your opinion, which is more suitable for China's current situation, Japanese animation mode or American Disney mode?
Zhen: It doesn't matter! The soul of animation lies in the story. Whether it's "learning from Europe and America" or "learning from Japan", it's just that the source of the model is different. Style is related to the author's taste and personality, and it is just an expression. At present, the animation industry in China is in its infancy. In this state of learning and growth, we don't need to worry too much about whether it is European-American or Japanese. Whether in Europe, America or Japan, the key is to see the advantages of others and learn from each other's strengths.
In fact, American cartoons sometimes learn from others, such as the recently released Transformers. The cartoons of that year were created by Hasbro from Japan, but in the end they became authentic American cartoons and became popular all over the world. Therefore, it doesn't really matter who you learn from, as long as you can find your own story and a good image. The biggest drawback of Chinese cartoons is that they can't tell stories now. When China's animation can really tell stories, then China can create his own animation in China mode.
Not creative enough? The environment makes it.
Reporter: But for domestic animators, it is a more direct problem that they can draw pictures but can't tell stories. After all, animators are all adults, but they have to tell stories according to children's psychology. In this respect, there is a great shortage of talents in China.
Zhen: This is still an environmental problem. China has been engaged in a planned economy for so many years, and everything has been planned. People are used to all the elements being set, and people just act as machines that operate without brains. Under the influence of such an environment, the producers of our generation may be used to doing what they are told. However, now that the social environment has changed, so has the personal environment. Waiting for our next generation, they all grew up in today's open environment, and their creativity is definitely unlimited. Therefore, creativity is created by the environment.
Reporter: Not only stories, but also image design has bottlenecks. Nowadays, many young people in the mainland like animation and are very good at painting. Many students of the Academy of Fine Arts are also engaged in animation-related work after graduation, and even undertake some specific work in the downstream of the animation industry in the United States and Japan. The animators in China are not creative enough, and the images they create are too simple, so it is basically impossible to come up with a scientific image like Transformers. What do you think caused this phenomenon? Is it caused by our education system?
Zhen: This is still an environmental problem. Animation is a creative industry, but this creativity needs an interactive and exciting environment. I have come into contact with some students from China Academy of Fine Arts. They are not uncreative. If we put them in an animation environment like Disney, they will be surrounded by creative people, and new inspirations will constantly inspire each other, and China people will be very creative. So I think it's not the lack of creativity caused by the education system, but the problem of our team. Some animation companies in the mainland have not cultivated such a creative environment. Undertaking downstream products can bring profits, but it can't produce its own creativity.
The animation industry in China has just started, and it will take a long time to mature. After a pause in the sixties and seventies, the current mainland animation artists are used to taking a conservative line, painting cats and tigers, but they dare not take out the most creative things. But I think it's only a matter of time. China will form a creative atmosphere sooner or later. You need not be too impatient. You can learn to run when you leave.
Disney has been engaged in creation in the United States for more than 80 years and is the originator of animation. After more than 80 years of accumulation, Disney has formed such a creative atmosphere and cultivated such a management team. Disney cultivates talents by putting them among a group of creative people. After many "brainstorming" and "shocks", they become talents. Therefore, in recent years, a survey shows that young people in the United States like to come to companies like Disney when they are employed. I think the biggest reason is that this company will provide a creative and exciting environment, which will make them feel a sense of accomplishment.
Preaching+too corny? The audience in China is too strict.
Reporter: Many cartoons in China have a common rule, that is, "animal personification", that is, designing a person's story and then turning the protagonist into an animal. Children of different ages like different things, and it is impossible for a mature animation system to have only these animals. Many animation companies are selling these "anthropomorphic animals" works under the banner of "promoting traditional culture". Do you think this shell is a little too big? Now many animation companies are selling "animal personification" works under the banner of "promoting traditional culture". Do you think this shell is too big?
Zhen: That's all right. Under the banner of "promoting traditional culture", or under other banners, as long as the story is well told, you don't need to mind what form to use. Every author or director has an ideal to create a film, and no one deliberately makes an unpopular film. Every story has a reason. A Little Mouse of Disney has been active on the screen for more than 80 years. Isn't this traditional enough? It is still alive because there are good stories to inject vitality into it. For the animation that has just started in China, it is of course possible to tell stories vividly and interestingly under the banner of "promoting traditional culture".
Reporter: In recent years, China's cartoons have had strong preaching problems, but China people are extremely disgusted with these very simple preaching. How do you think it is more reasonable to match the educational significance with the story itself?
Zhen: Personally, I think this problem is still in the exploratory stage. China people have a strange phenomenon, that is, they have "strict" requirements for their own films, so as long as domestic films show some signs of education, they will be scolded everywhere. In fact, every Disney movie has educational significance, but China people are relatively tolerant. Take the secret of our latest treasure gourd for example. "Getting something for nothing" is one of education. This is a fact. China and the United States should oppose getting something for nothing. Why can't such positive education be added to movies? Therefore, I hope that Chinese people will be more tolerant when watching domestic animation.
Reporter: As the first animated film co-produced by Disney and China, why did you choose this film instead of other traditional mythological images suitable for China's animation shooting? Mulan has been photographed in America before. Why not use the same model this time?
Zhen: Disney and "The Secret of the Treasure Gourd" can be said to be love at first sight. Shi Tian-Centro, which had previously cooperated with Disney, just bought the copyright of Zhang Tianyi's novels; Geographical location-this is a famous masterpiece of China with interesting details, which is very representative of its entry into the China market; Harmony between people-the "educational significance" of this work is that the central value of opposing getting something for nothing is universally applicable and will not be "acclimatized" in China. So, as soon as Disney saw the script, it was finalized.
The Secret of Treasure Gourd and Mulan's * * * are both Disney movies, but the biggest difference is that Mulan is a foreigner filming the story of China people, while Treasure is a story of China people filming China people themselves. Creative films can be successful, not that Mulan is successful, but all films will operate according to its model in the future.
Reporter: In the eyes of most people, there is still a big problem with domestic animation, that is, the animated image looks "too old-fashioned".
Zhen: Without soil, it takes time to solve problems. Why are American animation products not native? Because it has been 80 years. China can't reach heaven in one step. China audiences expect domestic cartoons to be good, and hope for better when they are good. Their mood is understandable, but should we encourage them more while "beating and cursing" domestic films?
In fact, the development of downstream products of animation works needs foundation. The success of the first film was not enough. When the director started shooting for the third and fourth time, the merchants of downstream products dared to relax and devote themselves to the development of downstream products. Did the first movie Pirates of the Caribbean have any downstream products when it was popular all over the world? No, does Disney's Toy Story Part I have any downstream products? No, either. There are few movies with this foundation in China. Successful ones, such as "Golden Flower in the City" and "The Night Banquet", are not suitable for co-production of the second and third films, while some suitable for making sequels often die in the first film. Whether the Secret of Treasure Gourd is a sequel depends on the total box office results.
A few figures about domestic animation
★ According to the regulations of China State Administration of Radio, Film and Television, every TV station must broadcast cartoons 10 minutes or more every day (provincial TV stations require more than 30 minutes), of which 60% must be domestic films. This year 1 quarter, the output of domestic cartoons was only 22,000 minutes. In 2007, the average time was only 88,000 minutes, which was at least less than the requirements of the State Administration of Radio, Film and Television15,000 minutes. This figure can only be supplemented by imported cartoons.
★ On average, the production cost of domestic TV cartoons is about 6.5438+0.5 million yuan per minute (the production cost of CCTV has reached 33.6 million yuan per minute, while the international average production cost is 6.5438+0.2 million dollars per minute), and the annual production market opportunity can reach 3.75 billion yuan. If the cost is 1, the income of broadcasting, copyright, image broadcasting right and derivative products is 3 (in the United States, it is 1 to 4), and there is still a market opportunity of 1 1.25 million yuan every year. If domestic TV cartoons are in line with international standards in terms of creation, production and operation mechanism, and export 1 3 films, then the proportion of domestic and foreign films broadcast abroad is14, and this piece will earn more than 600 million US dollars. In other words, the animation industry in China has a huge market totaling 20 billion yuan every year.
A survey of more than 2,000 teenagers in Beijing, Shanghai and Guangzhou by Quark Market Research Company shows that the related consumption of cartoons is equivalent to that of shampoo. Teenagers spend more than1300 million yuan on cartoons every year. However, teenagers' favorite cartoon characters have nothing to do with "MADEINCHINA". Among the most popular cartoon characters, such as Snoopy, Mickey Mouse and Robot Cat, less than 65,438+00% are from Chinese mainland, while more than 80% are imported from Japan and the United States.
According to the survey, the average age of the audience of Japanese animation products is 32 years old. The benchmark age of chinese comic fans is about 2 1 year-old, based on the generation of children who watched "Saint saint seiya" more than ten years ago. However, the audience orientation of most works produced by China animation enterprises is still 12 years old. Producers and consumers face an embarrassing age dislocation: how can producers of products below 12 satisfy consumers around 2 1?
From the internet, I think it's not bad.