Why Everybody Is Watching Chinese Animation Industry中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)何以引全球關(guān)注

菲利普·馬克　郝福合

China is cementing itself as a frontier and focal point of the entertainment industry; the largest nation by population is projected to overtake the United States as the worlds biggest box office in 2020， bringing in an estimated $12.28 billion. The country is also attracting the attention of Western animation studios， both as a target audience and as a service work destination， and is increasingly producing its own homegrown hits.

So why is it only now that China is establishing itself on the animation map？

History of animation in China

The answer requires going back to the early 20th Century. The first animated film to reach Chinese audiences was screened in 1918 and in the subsequent decade， a quartet1 of producers known as the Wan Brothers would pioneer techniques and join the Great Wall Film Company.

The Wan Brothers created Chinas first animated film with sound， The Camels Dance， and would continue to innovate the medium—progressing towards longer-format productions until WWII. Around this time， there was an East-West cultural exchange， with global films like Snow White and the Seven Dwarves being screened in Shanghai and influencing local creators.

Chinese animation flourished during the post-war recovery， with the Wan Brothers creating Why Is the Crow Black-Coated （their first feature-length colour toon2） and Havoc in Heaven， a musical masterpiece inspired by the classic story of Journey to the West. However， the “Cultural Revolution” from the late 1960s until the end of the 1970s put the industry on pause.

Will 2020 be the decade of Chinese animation？

While the Chinese animation industry would not have been considered a power player at the turn of the millennium， in 20 years it has established itself as both a creator and consumer of high-quality content. The proof is in the productions： films like 2016s Big Fish & Begonia have been compared to the anime of Studio Ghibli and it was subsequently distributed across the West. It also became the single most successful Chinese crowdfunding project to-date， raising $260，000—and grossing nearly $85 million at the Sino box office.

“There are big opportunities right now for domestic studios who want to create content， both domestically and internationally，” says Vivan Han， a producer at Chinese animation studio Feitong Cartoon.

In July 2019， Enlights latest CG-animated film Nezha landed the biggest-ever opening weekend for an animated film in China—grossing $91.5 million. It also took second place at the global box office， beat out3 only by Disneys The Lion King reboot4. Similarly， 3D films Monkey King： Hero Is Back and White Snake have had financial success at Sino cinemas， with the latter becoming GKIDS first Chinese acquisition and to receive North American distribution.

Plus there are plenty of international co-productions in the pipeline5， from The Monkey Prince （a collaboration between Beijing-based Bona Film Group and Japans Toei Animation） to Wish Dragon， which is being created through a partnership between Sony Pictures Animation， Chinas Base Animation and Jackie Chans Sparkle Roll Media. With so much looking up6， whats keeping the countrys industry down？

Beyond co-productions and original IPs， China is also continuing to establish itself as a hub for service work. As of 2017， Asia produced around 90 percent of American television animation—though the Chinese industry has not traditionally been a key player in the market. The reasons why range from the cultural to the governmental.

“Chinas animation market is completely different from other countries， not only in the culture， but also in the strategy and government policy，” says Han.

She continues， “The world is shifting and with streamers like Netflix and Disney+， distribution is changing and there is greater demand than ever for content. Western studios cannot keep up with the demand for work and it is improving our opportunities to work with foreign studios.”

Chinese animations opportunities and challenges

According to Mars Dai of Animated-China.org， Chinas GDP per capita now exceeds $10，000 and for more than 150 million， is above $20，000. Additionally， over 230 million people there are aged 0 to 14—presenting a huge opportunity for cartoon creators.

On the flip side7， Chinese audiences and authorities tend to view animation as something for younger viewers， which comes with its own baggage.

Additional challenges the countrys animation industry faces are related to a growing demand for professional education and training. This often becomes the responsibility of the studios themselves， which can decrease quality and increase costs.

“Although animation education in China has improved， when it comes to character effects or other technical skills， they dont teach any of it in universities—you can only learn it on the job in a company environment，” said Yuan Ye， cofounder of Lightchaser Animation Studios （the creators of White Snake）， as quoted by Variety.

He continues， “Weve made our company like an extension of college. For an animation company hoping to put out a consistent pipeline of films， this sort of in-house8 talent pool is a necessity.”

There is also a groundswell9 of organizations emerging to support the industry. Dais platform， Animated-China.org， is， “collecting and collating10 the information of hundreds of animation-related enterprises and individuals in China. Through websites and publications， we will transmit this information to those interested in Chinese companies globally at major animation festivals and exhibitions， and facilitate more cooperation across creativity， production， financing， distribution， merchandising11 and more.”

He continues， “Meanwhile， as a bridge and platform， we are also synchronizing12 the information of the global animation industry to China to help the Chinese animation industry better understand the world.”

His is not the only entity that recognizes the huge potential in Chinese animation， with great interest and investment coming from outside its borders; Canadas Corus Entertainment， Nelvana and Toon Boom Animation partnered with local toon distributor and brand managers WeKids on a joint talent initiative， China Tales Incubator.

China Tales Incubator invited China-based creators to submit kids animated content concepts—hosting six workshops across the country. The winning project was Dreamweavers by Beijing-based Bingo Animation Studio， which has gone into development.

While new productions like Dreamweavers offer an optimistic view of the future， it will likely be some time until China truly rivals the United States and Japan in terms of output. That said， if the latter half of the 20th Century proves anything， things tend to move quickly in the country. It may not be long until “Made in China” becomes the new industry standard of quality.

中國(guó)正確立自己在娛樂(lè)產(chǎn)業(yè)的前沿和中心地位;據(jù)估計(jì)，到2020年，這個(gè)人口最多的國(guó)家將實(shí)現(xiàn)票房收入122.8億美元，有望超過(guò)美國(guó)，成為全球最大電影票倉(cāng)。同時(shí)，中國(guó)正在吸引西方動(dòng)畫(huà)公司的關(guān)注，成為其目標(biāo)受眾國(guó)和外包業(yè)務(wù)目的地，而且正越來(lái)越多地推出自己的本土大片。

那么，緣何直到今天中國(guó)才逐步確立起在動(dòng)畫(huà)版圖上的地位呢？

中國(guó)動(dòng)畫(huà)史

要回答該問(wèn)題，需追溯到20世紀(jì)早期。中國(guó)觀眾看到的第一部動(dòng)畫(huà)影片在1918年上映，隨后10年，“萬(wàn)氏兄弟”四人創(chuàng)作組合開(kāi)創(chuàng)技術(shù)，并受邀加入長(zhǎng)城畫(huà)片公司。

萬(wàn)氏兄弟創(chuàng)作出中國(guó)首部有聲動(dòng)畫(huà)影片《駱駝獻(xiàn)舞》，并不斷對(duì)動(dòng)畫(huà)電影加以創(chuàng)新——朝著創(chuàng)作動(dòng)畫(huà)長(zhǎng)片的方向取得持續(xù)進(jìn)展，直到二戰(zhàn)爆發(fā)。大約在這個(gè)時(shí)期，出現(xiàn)了一次東西方文化交流，《白雪公主和七個(gè)小矮人》等國(guó)外影片在上海放映，對(duì)本土創(chuàng)作者產(chǎn)生了影響。

中國(guó)動(dòng)畫(huà)在戰(zhàn)后恢復(fù)期曾一度繁榮，萬(wàn)氏兄弟創(chuàng)作出《烏鴉為什么是黑的》（他們的首部彩色動(dòng)畫(huà)長(zhǎng)片）和《大鬧天宮》。后者是一部配樂(lè)杰作，改編自《西游記》這部經(jīng)典。然而，1960年代后期至1970年代末的“文化大革命”使動(dòng)畫(huà)產(chǎn)業(yè)陷于停滯。

2020年能否成為中國(guó)動(dòng)畫(huà)的十年？

盡管在千年之交，中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)在人們看來(lái)也許尚不具雄厚實(shí)力，但20年后，卻已成為優(yōu)質(zhì)內(nèi)容的創(chuàng)作者和消費(fèi)者。證據(jù)在于影片產(chǎn)出：有人把《大魚(yú)海棠》（2016）等影片與日本吉卜力工作室的動(dòng)畫(huà)片相提并論，隨后該片在西方發(fā)行。這部影片也成為中國(guó)迄今最成功的眾籌電影：融資26萬(wàn)美元，國(guó)內(nèi)票房收入近8500萬(wàn)美元。

“當(dāng)下，無(wú)論在國(guó)內(nèi)還是國(guó)際上，希望創(chuàng)作內(nèi)容的國(guó)內(nèi)電影公司都有大好機(jī)會(huì)。”中國(guó)動(dòng)畫(huà)公司飛侗動(dòng)漫的一位制片人薇薇安·韓表示。

2019年7月，光線傳媒最新的CG動(dòng)畫(huà)影片《哪吒之魔童降世》拿下中國(guó)動(dòng)畫(huà)電影首映周末史上最高票房——收入9150萬(wàn)美元。同時(shí)，該片在全球票房位居第二，僅次于迪士尼的《獅子王》重啟版。同樣，3D電影《西游記之大圣歸來(lái)》和《白蛇：緣起》在國(guó)內(nèi)影院也取得了商業(yè)成功，后者成為美國(guó)GKIDS公司買(mǎi)下北美發(fā)行權(quán)的首部中國(guó)電影。

此外，許多國(guó)際合拍片正在制作之中，包括《猴王子》（北京博納影業(yè)集團(tuán)與日本東映動(dòng)畫(huà)的合作影片），以及《許愿神龍》，后者正在由索尼影視動(dòng)畫(huà)、中國(guó)的倍視動(dòng)畫(huà)以及成龍的耀萊傳媒聯(lián)手打造。向好情況如此之多，還有什么可阻礙中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)的腳步呢？

除合拍片和原創(chuàng)IP電影以外，中國(guó)正不斷把自己打造成外包業(yè)務(wù)中心。截至2017年，美國(guó)電視動(dòng)畫(huà)約有90%由亞洲制作——盡管歷來(lái)中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)并未扮演重要的市場(chǎng)角色。究其原因，涉及文化和政府等多重因素。

“中國(guó)的動(dòng)畫(huà)市場(chǎng)完全有別于其他國(guó)家，不僅反映在文化方面，也反映在戰(zhàn)略和國(guó)家政策方面?！表n如是說(shuō)。

她接著講道：“世界在變，有了奈飛和迪士尼+這樣的流媒體平臺(tái)，發(fā)行方式也在變，對(duì)內(nèi)容的需求之大超過(guò)以往。西方電影公司無(wú)法滿足制作需求，這就增加了我們與國(guó)外公司合作的機(jī)會(huì)?！?/p>

中國(guó)動(dòng)畫(huà)的機(jī)遇和挑戰(zhàn)

據(jù)Animated-China.org網(wǎng)站的馬爾斯·戴所說(shuō)，中國(guó)的人均GDP現(xiàn)已突破1萬(wàn)美元，有1.5億多人達(dá)到2萬(wàn)美元以上。此外，0至14歲的中國(guó)人口超過(guò)2.3億，為動(dòng)畫(huà)創(chuàng)作者提供了巨大機(jī)遇。

但另一方面，中國(guó)觀眾和有關(guān)部門(mén)往往認(rèn)為動(dòng)畫(huà)片是拍給孩子看的，從而束縛了動(dòng)畫(huà)片的手腳。

中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)面臨的挑戰(zhàn)還在于，對(duì)專業(yè)教育和培訓(xùn)的需求日益增長(zhǎng)。專業(yè)教育和培訓(xùn)往往由動(dòng)畫(huà)公司自行負(fù)責(zé)，這樣做會(huì)降低品質(zhì)、增加成本。

“雖然中國(guó)的動(dòng)畫(huà)教育已有改觀，但說(shuō)到角色特效或其他專業(yè)技能，大學(xué)都不教授，只能在公司環(huán)境下邊工作邊學(xué)習(xí)?！泵绹?guó)《綜藝》雜志引述追光動(dòng)畫(huà)（《白蛇：緣起》出品方）聯(lián)合創(chuàng)始人袁野的話說(shuō)。

他繼續(xù)說(shuō)道：“我們讓公司成了大學(xué)的延續(xù)。對(duì)于想源源不斷推出影片的動(dòng)畫(huà)公司而言，這種內(nèi)部人才儲(chǔ)備必不可少。”

同時(shí)，涌現(xiàn)出一批支持動(dòng)畫(huà)產(chǎn)業(yè)的機(jī)構(gòu)。戴的平臺(tái)Animated-China.org正在“匯集和整理中國(guó)數(shù)百家動(dòng)畫(huà)企業(yè)和從業(yè)人員的相關(guān)信息。通過(guò)網(wǎng)站和出版物，我們會(huì)在大型動(dòng)畫(huà)節(jié)和展會(huì)上把信息傳遞給國(guó)際上對(duì)中國(guó)公司感興趣的人，促進(jìn)創(chuàng)作、制片、融資、發(fā)行、衍生品開(kāi)發(fā)等方面的更多合作”。

他接下去說(shuō)：“同時(shí)，我們發(fā)揮橋梁和平臺(tái)的作用，將全球動(dòng)畫(huà)產(chǎn)業(yè)的信息同步介紹到中國(guó)，幫助中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)更好地了解世界?！?/p>

戴的網(wǎng)站并非唯一看到中國(guó)動(dòng)畫(huà)產(chǎn)業(yè)存在巨大潛能的機(jī)構(gòu)，濃厚的興趣和投資來(lái)自國(guó)外。加拿大的Corus娛樂(lè)公司、Nelvana動(dòng)畫(huà)公司和Toon Boom動(dòng)畫(huà)軟件公司攜手中國(guó)本土動(dòng)畫(huà)發(fā)行商及品牌管理公司萬(wàn)童互動(dòng)，共同發(fā)起一項(xiàng)人才計(jì)劃——“中國(guó)有故事”孵化器。

“中國(guó)有故事”孵化器已在全國(guó)舉辦六場(chǎng)宣講會(huì)，邀請(qǐng)中國(guó)的創(chuàng)作者提交兒童動(dòng)畫(huà)創(chuàng)意方案。勝出項(xiàng)目為北京繽格動(dòng)畫(huà)公司的《魔法衣世界》，現(xiàn)已進(jìn)入開(kāi)發(fā)階段。

盡管像《魔法衣世界》這樣的新片帶來(lái)了樂(lè)觀前景，但是論產(chǎn)量，中國(guó)要真正比肩美國(guó)和日本可能尚待時(shí)日。雖說(shuō)如此，20世紀(jì)后半葉卻證明了一點(diǎn)，即中國(guó)各個(gè)領(lǐng)域往往都發(fā)展迅猛。或許“中國(guó)制作”成為行業(yè)質(zhì)量新標(biāo)準(zhǔn)的日子已為期不遠(yuǎn)。

（譯者為“《英語(yǔ)世界》杯”翻譯大賽獲獎(jiǎng)?wù)撸?/p>