Explore The Story Of Symbol And Modeling Symbol Of Chinese Animation

Chinese animation was pioneered by Mr. Wan brothers in1992. Since then, Chineseanimation has passed through a glorious period with assertive ethnic style and the lowperiod by the impact of foreign animation. In globalized nowadays, it’s an issueexplored by animation makers and the theorists that how to find an uniquedevelopment path to get through and make the Chinese animation renewed prosperityAnimation is a special category of Television Arts, and its success depends on ananimated movie scripts and animation style. The main object of this study is the majoranimation since the founding of China. Depending on the characteristics of the timesthey show both in story and style, the Chinese animation is divided into three periods:the period of Shanghai Animation Film Studio, the period of lengthy televisioncartoon and the period of Pleasant Goat and Big Wolf. This is just a rough divisionand boundaries of each period are not clear-cut. Through in-depth analysis of the twopillars of animation, stories and art, and from the perspective of children’s literatureand semiotics to explore the characteristics of modeling aspects and story of thedifferent periods of animation to identify the development path which suited toChina’s animation. The mainly research methods used in this paper are: Firstly, thevisual text reading method. Because the study is mainly visual images of the texts, soit’s necessary to watch a lot of animation. Secondly, the semiotic approach, with thesemiotic method we can obtain more in-depth analysis of what is unique animatedfilm and television arts to reveal the fundamental characteristics of the animation.Thirdly, the embryology method. What’s the relationship of the story and modelingand who comes firstly? The division of the order of the story text and animationmodeling help us delve into the resources drawn of animation, have a betterunderstanding of the variety of resources and broaden the channels for animationresources, then we can get inspiration from the analysis of the resources of theoutstanding animation. Fourthly, the comparative study method. By comparing thethree periods of Chinese animation, we discover the advantages and disadvantages ofstory and modeling of each period to summed up the combination of nationalizationand modernization. It is the development direction of Chinese animation.This paper is divided into four parts. The first chapter we discusses the differencebetween animation and conventional television drama from the perspective ofsemiotics and the hypothetical together with the symbolic make the animation vivid.The second chapter discusses the relationship between two pillars of animation,stories and art. The third chapter discusses what resources are drawn from by the modeling and the story, as the main symbol of animation. From point of the literaryresources, it mainly draws from the folk literature and children’s literature. From thepoint of performance, it mainly draws from folk art, folk art, such as Peking Opera.The fourth chapter discuss the variations of modeling and story symbol of Chineseanimation from a historical point and divide the Chinese animation into three periods.From the plot and themes symbols we analyze the characteristics of each periodanimated story and from the image, narrative and symbols we analyze thecharacteristics of modeling features of animation. We conclude as follows: First,transmutation of the story symbol took place. The plot symbols connecting reality andfantasy transferred from the "dream mode" to "cross pattern" and show greater respectfor the power of imagination and fantasy. Theme symbols transferred from "adultoriented" to "child centered". Second, in the aspects of the shape of symbol, theanimation modeling during the Shanghai Animation Film Studio period possessedmore ethnic style. The second period weakened national style greatly and reinforcedthe modern minimalist temperament. During the third period, animators were alsoaware of the importance of national temperament and advocated Chinese animationshould have their own style. Ethnic combined with the contemporary styles is thedevelopment path China animation.