Study Of Chinese Animation Spread Situation

From the perspective of communication, this thesis inspects the phenomena of the Chinese animation communication system. As s sub-system of film-television communication in China, the animation communication system inevitably reflects as results the impact of the mother system while bearing its own character.Amidst the fast economic growth here in China, the cartoon screen also seems to have "flourished". Nevertheless, the average broadcasting rate of foreign animation, with Japanese ones in particular, is indicating an incongruity among the growth. The once honorable title of "Chinese Animation Style" is no longer there. While our government and national leaders have emphasized for years to make clear that our youth definitely need more national cultural fare, and being prosperous is but a dual-flourishing of physical and mental well-being, our animation market is still extraordinarily weak, in spite of the fact that the Opening--Up Policy has started for 27 years. In a huge market where over 100,000 minutes is needed, our annual output is only over 13,000 minutes, which is about 1/100 of that of Japanese production, and no film has come out since 1999. Without enough animation fare to meet their needs, the youth have largely grabbed the Japanese products to entertain themselves.This phenomena could otherwise be studied with economic method, but my 'communication view can also be very constructive. For example, the phenomena can be inspected with a consideration of the whole system rather than separately, and the status by its own also relates the art of the script and the visual attraction, which is beyond the economy sphere and concerning a lot with the audience.Therefore, a systematic communication view is adopted in this paper to study the following aspects of the whole picture: 1) the surviving conditions for the industry, the broadcasting channels, and the bottlenecks that hinder the development of the industry; 2) how the industry view the market, the audience and the product, what they have noticed and what suggestions they have, to explore whether they have placed these elements in their minds; 3) contemporary lifestyle and psychological, social features of the audience; 4) use and gratification of the audience; 5) how the audience view the national products; 6) how they assess the products outside China; 7) how the audience suggest to improve the entertaining elements of animations; 8) the Chinese, American and Japanese products per se, as the bridge between the producer and the audience, how they stand out with their own features, and whether the audience have been centered as target market; and 9) a systematic exploration on the circumstances, channels, animation makers, contents, audience, the problems and the solutions.Therefore this thesis is pragmatic-oriented, intending to locate the hard not to crack and aiming to provide constructive solutions, which is cherished to be declicative to the contemporary Chinese applied communication research.