Sino-Japanese Animation Modelling Difference Research

With the wave of economic globalization, animation draws an increasing concern across the world not only as a unique form of artistic expression, but also as a form of culture. This paper attempts to research into differences between Chinese and Japanese animation styles,Threads up the role, the scene and the lens picture, the color three aspect modelling carries on the discussion.In academia circle, comparative study of Chinese and Japanese animation is still in a basic stage where many problems exist. Now there exist several academic points of view:some believe that the China animation before the 1990s (i.e. puppet animation, paper-cut animation, origami animation, etc.) are too local and too traditional to be compared to Japanese animation; while others think that the Chinese animation is fine to be traditional or even indigenous as it could be seen as international as well. Some other go even further who try to completely duplicate the "Japanese success", and copy everything, from form to content, from style to costume, from Japan, making our animation "Japanized" animation. The author argues that all these points are more or less subjective and sided. They fail to analyze the problem systematically, nor do they see these phenomena from their deep roots. Indeed, the author may not finish an all-rounded comparison between Chinese and Japanese animation in this article, however, the article will try to focus on the perspective of modeling, and try to pin on the original image of Chinese, which would hopefully further help develop Chinese animation.Animation does not origin from either China or Japan, and the developments of animation in there two countries are similar, both through imitation-being mature-lagging behind-new development. But similar path of development head towards different creative paths, resulting in the different styling way of modeling. Though both belong to Asia, China and Japan do have huge difference in cultural aspects, which in consequence create differences in animation styling. Modeling the role of Japanese animation mostly compose imaginary components, where bond shape tightly with age throughout the whole animation; whereas in Chinese animation we could indeed find traditional Chinese elements in Chinese animation but could not say that this advantage is inherited properly. For example in the very popular series of "Xiyangyang", the overall popularity is mainly brought by successful brands effect rather than exceptional shaping. Japanese animation is famous for its fast transformation in switching pictures, with which inner emotions of the main characters could be fully displayed, while Chinese animation, mostly static scenes, lack such motional scenes, inevitably leading to aging and dull of the impression of the animation. In the aspect of color shaping, Japanese animation finds the right color spectrum of contemporary animation, especially embodies the color of war and bloody repression, whereas Chinese animation combines both Japanese style and western style in color, lacking their own feature. We draw conclusion from this that being the same as Asian countries, Japan and China are no different in imitating from the very beginning, learning from western animation, but after a while drive onto different path where Japan finally finds its own style, and where China still wonders in front of which feature it should end up with in the end.From comparison between Japanese and Chinese animation style, the author believes that:(1) in role modeling, China is positioning itself contemporary animation in an unclear stand, causing confusion in the role of modeling; it also unsuccessfully use a large number of ink application, the role of modeling has no distinct feature in comparison with the Japanese animation, and has a long way to go in finding its own characters. (2) Chinese animation is too static and too stereotyped in the movement of scenes; picture of conversion could not make the best stretch of suspense, and could have a lot to learn from the Japanese animation. (3) Imperfections of color spectrum in Chinese animation lead to the unclearness of color shaping, with Japanese animation color model we could find suggestive solutions more or less.Today's Chinese contemporary animation is still in a difficult transition period, some animators propose to learn directly from Japanese animation, but a large part of animation is not only similar in modeling, but also in content, resulting in a "Japanized animation" phenomenon in China. Another reason for this phenomenon is our confusion of concept and incompleteness of the whole animation industry. We should know that after all we will have to discover our own animation concept and operative way of the industry, instead blindly copying the Japanese one. As a result, the author applies to way of comparison, and discuss differences in modeling between Chinese and Japanese animation, so as to deploy valuable attempt in the future of Chinese animation.