Just as countless national fans have been screaming, along with the continuous development of the Chinese animation industry, the cooperation between China and Japan in animation has become more frequent, but as if it is a curse, the works of Sino-Japanese cooperation are In recent years, it has not been optimistic about the audience. Even if we see that Xuanfa stressed that it is “China-Japan cooperation,” we will assert that “bad films don’t look”.
Well, today I will count the years. Sino-Japanese animation cooperation. Love and hate.
Actually talk about it. Chinese animation. , Many people know that the animated history fault band of nearly 20 years from the end of the 20th century to 2005 was at that time. Shanghai Art Film Studio. 落落, . China Children’s Film Studio. In the era of undeveloped development, Chinese animation at that time was completely unsuccessful. Cartoon production was also semi-marginal. It can be said that at that time, talking about the entire film and television industry, there was no such thing as cartoons.
Until the second change of China Film and Television Group in 2005, various production companies can look for third-party cooperation, and Guoman gradually began its revival.
After four years in 2009, the first Chinese-Japanese cooperation anime.
——The Romance of the Three Kingdoms was born.
This animation based on one of the four traditional Chinese classics, The Romance of the Three Kingdoms, is made by China. Brilliant animation. , ,. CCTV animation. with Japan. Future Planet Corporation. Join forces to build. A total of 52 episodes of “The Romance of the Three Kingdoms” is a very good combination of the Chinese story with the excellent creative techniques of Japan at that time. It can be said that it was one of the most elaborate animations of the year.
And this period of Chinese and Japanese co-production animation is mainly concentrated in the official cooperation. The investment and production side of The Romance of the Three Kingdoms is CCTV, while the Tibetan Mastiff Dormitory is produced by the China Film Group Corporation. But it is not so much cooperation. In fact, because the development of Chinese animation itself was still unsightly at that time, many of the initial exchanges were stopped by official cooperation, and the production level of Chinese animation was no longer ahead of Japan, China. The main mode of cooperation is capital investment.
In short, it is China’s money, and Japan is the vast majority of its production work. This kind of cooperation is actually not too different from the official “buy” animation. However, due to the relevant industries in China at that time, the relevant departments still did not regard the animation industry as a big head, and there was not much opposition to the Japanese cooperation. At that time, Japan, which was under increasing pressure from the industry, was also happy with a huge gold master. It provides financial support. In this way, although there are also people in the industry, such as Huang Jun, the general manager of China Film, expressed concern, but Sino-Japanese cooperation is still ushered in. The first golden age. . At that time, “China-Japan cooperation” could be said to be the best “golden signboard”.
And with this cooperation, the influence of Chinese animation has gradually begun to show. The Chinese animation industry has gradually recovered. With the development of the Internet era, the animation market has been expanding, and private capital has gradually grasped the right to speak in the field of cultural industry. The form of co-production between China and Japan has gradually shifted from the official to the private.
After 2015, accompanied. “The Return of the Great Saints”. The release of Has objectively promoted the acceleration of the overall domestic animation industry. In 2016, the state’s policy support for the cultural and creative industry further accelerated the capital’s entry into the animation industry. A number of Internet heads including Tencent, Youku Tudou, iQiyi, and NetEase have begun to turn their attention to the big cake of the animation market.
But at this time, the honeymoon period of Sino-Japanese cooperation is no longer anymore. Along with the influx of private capital, the overall quality of Sino-Japanese cooperation has been falling.
With the development of the Chinese animation industry, the Chinese audience is no longer flustered by the “China-Japan cooperation” gimmick, but a more rational return. The second-level user has higher requirements for the content of the animation. “There was a spirit sword mountain in the past.” The second reason for the various controversies in the second season is that users pay attention to the transfer of the quality of the animated content. They are more concerned that the animated styles do not suit their appetite. The animated stories do not fit their minds. .
“There was a Lingjian Mountain in the past” Baidu search index
And during this period, one of the biggest problems in the Chinese animation industry was accompanied by the influx of these huge capitals. The non-professional production of stories. . Although many companies have bought a lot of IP, there are not a few real animation stories that have been converted into qualified ones. With. “Under the One Man”. The first season is the representative of the Sino-Japanese co-production animation, the Japanese production committee system, and the Chinese company + outsourcing production methods have a lot of production differences. In 2016, the various paintings in the Chinese-Japanese co-production animation collapsed and the quality of the animation content was low. It has been proved that the cooperation model of “Chinese investment in buying animation” can no longer satisfy the Chinese anime enthusiasts’ perception of Guoman. I want to rely on overseas full production to quickly create animated IP.
“中 Sunrise, must be a defective product”. The ‘S public opinion sounded officially in 16 years, facing the audience. “Guo Man wants to tell the Chinese story”. The call of , the deep cooperation project between China and Japan is coming out.
Fortunately, the big cake in the animation market is tempting enough. The Chinese investment company, which is unfavorable to the division, did not directly withdraw its capital, but began to cultivate its own animation industry, as the person in charge of the company’s company said. .
“The producers and managers of animated film companies must understand movies.”
At this point, the “China’s contribution to Japan’s contribution” has been completely broken. Paint a dream. , ,. Art painting opens. A series of animation companies have risen to the ground and quickly promoted the institutionalized operation of the Chinese local animation industry. The Chinese animation company with considerable strength has gradually increased the requirements for animation IP and animation quality. “We do not accept One does not exceed the IP we require.” At this point, the Sino-Japanese cooperation of “fooling the foreign devils” was quickly eliminated, and the two sides of the Sino-Japanese cooperation, which had been deeply cooperating, finally ushered in after more than a decade. The second golden age. . The co-production of private enterprises between China and Japan has also turned from a niche cooperation to a popular industry dynamic.
And under the increasingly frequent market background of cooperation between the two countries, the cooperation between China and Japan is constantly changing and innovating. The era of Chinese animation reverse output has finally come to the fore, accompanied by. “Qin Shi Ming Yue”. Series, . “Fox Demon Little Matchmaker”. The series is quite a series of China’s more mature animation IPs invested in the Japanese animation market. The animation of Sino-Japanese cooperation has already led Japan. “The fourth animation boom”. .
The results of the second golden age of China-Japan cooperation have already begun! .
As the two largest animation markets in Asia, the cooperation between these two behemoths is inseparable from anyway. Today’s Sino-Japanese co-production mode has greatly compensated for the state in which the original animation production is not standardized and the industrial chain is immature, but it cannot ignore the impact of this cooperation model on the still-improving Chinese animation market.
Exploring and learning, cooperation and disagreement, perhaps the love and hate of these two behemoths will continue to be written.