From Resources To Capital

The art of animation has surpassed the national boundaries, races,ethnicity,occupation,sex and age. It is a widely-accepted audiovisual art and a popular entertainment culture form; it is influential and appealing. The animation industry is sunrise industry in the 21st century. In the early years, the domestic animation was so unique in the world's animation field for its distinctive national style that it was called "Chinese School". It used to be very attractive and high-spirited and vigorous. However, the domestic animation industry today has reduced to a lower level, which is no longer brilliant and causes people to feel regretful for its obvious miserable situation. With the strike of external animation forces that make a great clamor just like the USA and Japan, the domestic animation industry is beset with troubles internally and externally in the context of globalization. It abandons folk literature tradition which is its essence of independence and foundation of existence. The domestic animation industry has developed some diseases called"amnesia"and"aphasia". It has completely lost the right to speak and its development is in a dilemma. Worse still, the traditional Chinese culture resources are being used by others. Mulan, Kongfu panda and its sequel and some other foreign animations export to domestic sales. Apart from making a great profit in Chinese market, the foreign animations also lead the domestic animation industry to suffer from an irretrievable loss by plundering Chinese cultural resources. In the aspect of ideology, the foreign animations exert a subtle influence on our youth generation in appreciation of the beauty, values and ideals, thoughts and so on. The essential reasons that the domestic animation industry falls into such an embarrassing and humiliating situation are the domestic animation industry itself attends to trifles and neglects the essentials, abandons traditional folk culture, fails to integrate and innovate the existing abundant folk literature resources fully and fails to deal with the relationship, which are localization, internationalization, aestheticization, modernization, humanization and industrialization.After studying the animation art history at home and abroad, we can easily find that folk literature has a close bond with animation art. The various resources of folk literature are the fountainheads of the creation of all countries' Animation art. Animation powers like America and Japan develop and innovate folk literature resources both nationally and internationally, showing distinctive national characteristics, and the early domestic animation focusing on application and innovation of national culture resources is renowned as "Chinese School". However, domestic current animation loses our folk literature tradition, leading to the lose of both nationalization and internationalization. To promote Chinese animation and break out of the encirclement in plight, we should emphasize animation's contents and restructure the tradition of folk literature. The resources of folk literature are summoning animation made in China, having multiple values and functions:as political resources, we should insist on the standpoints of folk animation. As economic resources, we should create commercial values of animation. As cultural resources, we should manifest the local identity of animation. As educational resources, we should spread the national spirit of animation. As art resources, we should use the cultural originality of animation. As creational resources, we should promote the comedy characteristics of animation. Currently, the integration and creation of folk literature resources are the choice of history and necessity of our times. It's probable, evitable, important and urgent. Concerning the surface form of folk literature resources, except for learning and absorbing diverse and various art forms of folk literature and folk narrative in folk literature art resources, what's more important and amazing is to integrate and innovate the folk literature's deeper meaning, that is, imaginative poetic thinking, national folk traditions, universal moral sentiments, popular folk standpoint, modeling narrative features, recreational comedy spirits. In the process of the comprehensive integration and innovation of folk literature both in shape and content, for Chinese animation we should treat the modernization of localization as its root, the esthetical humanism as its principle, the international industrialization as its direction, and look after both national features and international visions, merge the emotional art and technical rationality, pay equal attention to social and economic profits. Only by doing all these can we develop competitive art products, promote national spirits, revive the traditions of Chinese people, manifest national identities, protect cultural safety, resist the hegemonism of western cultures, create economic profits, produce social effects, push the profits of innovative cultural industries, develop children's wisdom, stress teaching through entertaining, cultivate people's innovative and imaginative abilities, benefit the human society, finally can we stand on our own in the forests of worldwide animation.It's a new point of exploration to do the applied research by combining the two comprehensive arts-----the folk literature and the animation. Mainly the folklore being the starting point and reference point, this paper does research on the common characters and conjunction points of the folklore and animation. On the one hand, it deals with the interactive relation of the two arts in the global language situation to achieve the creative transference of the folk literature resources from literature resources to capital through animation-----the hi-tech, manifestation mode, art technique and mass media, which can practically provide experience for the intangible cultural heritage protection engineering. On the other hand, this paper provides the theoretical direction for the direction of forward motion and rational solution of the modern development and integrated innovation of animation. On the level of micro operation, the slogan that domestic animation should develop in a national way has been advocated for years. However, there is only general macro description but no specific operation guide for how to integrate and innovate Chinese traditional culture resources. As a result, this paper concentrates on how animation can introduce, mix and interpret new perspectives from folk literature that is the traditional culture resources, which is an operative guide for the practice of the animation creative industry and a practical exploration for the protection and development of intangible cultural heritage. What's more, it stresses the literariness, artistry and aesthetic again on the level of folk literature noumenon research, which can correct and enlighten the researchers when they depend excessively on the field survey research methods of folklore, anthropology and sociology discounting the folk literature's essential attribute of being a literature.