Miyazaki’s 1988 masterpiece “My Neighbor Totoro” was released in China. It was only 5 million days after the release of the box office. It is hard to imagine such a 30-year-old picture that still looks a bit fuzzy even after the restoration. Can make such influence in China. Many people in China began to think, “When will China have its own Hayao Miyazaki?” When can China’s animation works start on the stage of international culture. The author is also on the Internet, looking for views from foreign people
In 2013, Miyazaki announced the retreat after filming “The Wind”. According to Japanese reports, the Chinese media named “China Enterprise News” published the title “Why the Chinese animation industry does not have Miyazaki.” The article “The birth of a giant such as Jun”, the author has been unable to find the original text of the article published in the country, but the main point of the article is correct. At that time domestic animation. The industry has made the following evaluations:
1. What is missing in China is the industry masters like Hayao Miyazaki and the prosperity of the animation industry. Due to the lack of funds, Chinese animation has become a self-satisfying prop for anime creators
2, China emphasizes the “educational significance” of animation, which leads to the age limit of animation works, and the profound content is not
3. After the global financial crisis, Chinese toy manufacturers were hit hard and looked down upon. (The author fills: So it is difficult to form the so-called “industry”.).
4, Beginning in 2004, the state promoted the subsidy policy of the animation industry, and used the time of the work to convert the amount of subsidies. After that, there were many shoddy animation works to earn subsidies. (I: Is it a certain part of Lei Feng? Animation??).
5, Japan’s generalized animation industry accounts for 10% of Japan’s domestic GDP, but China’s animation still belongs to the tertiary industry
6. The length of cartoons produced in China accounts for one-third of the total length of cartoons produced in the world, but the deficit rate of Chinese animation companies is as high as 85%. The lack of protection of intellectual property rights is the result of deficits. Main reason
7. The production of animation requires a lot of money, and the risk is very high. The domestic market should not only provide financial subsidies to the industry, but create an environment conducive to the survival of animation companies
The above is the original text, but the author has not found the original Chinese text of this article. The general content is the Japanese translation summary
For the topic of “China’s Miyazaki is not born,” how do Japanese netizens look at it? Look at the Japanese users’ spit:
“China’s animation is that 啥? It took hundreds of millions to do it. ‘s spicy chicken CG animation. “ (I: Is this “Lei Feng’s Story” all passed to Japan?捂 face)).
“The failure of Chinese animation is a good experience for Japan. It does not hesitate to use policies to support it, but it is actually using the wrong way of spending money. Because of the environment that can be exploited, Japan has created Miyazaki. In the harem of the Japanese light novel, there are only beautiful young girls’ works, as well as rot-female works, and there are too many super-powered combat works in the world, so Japan can’t get a second Miyazaki. It is also because of this good fan. Too much, the Japanese animation industry is in recession.”
“It is more important to have an animation director who knows how to train an animator than Takasaki Hayao, and then an animation director who will cultivate seiyuu like Tokuyuki Yuki.”
“Even if you are imitating, try to make a high-quality work that the Japanese agree with.”
“Compared to Hayao Miyazaki, people who have handcuffs and worms should be born first.”
“People who have done a beautiful ink animation in China before, have been in the ge…”.
“China used to have such a remarkable work such as “Deer Bell” (author’s note: a domestic inkjet animation in 1982) and “Where is the sea” (author’s note: 1979 domestic long-form animation). (The author: It seems that the Japanese people have some understanding of Chinese animation.)
“In China (made of animation) DVD and BD seem to be unable to sell” (I note: the same feeling…).
“Miyazaki’s level of people I think is there, but the handcuffs such as the worms from the original is the veteran I think there is no.”
“In other words, Chinese domestic works can be copied and pirated very freely, and the industry cannot be born.”
“miyazaki’s pro-China faction is very good in China. In Japan, it is still labeled with Loli’s control…” (The author is awkward…).
From the rumors and evaluations of Japanese netizens, it can be confirmed that the Japanese people still have a fairly good understanding of the domestic environment, and the problems are clear. However, in the past few years, China has made great efforts in animation. More and more enterprises have joined the investment of Guochuang Animation. With the support of economic power, the higher-level works have the environment for birth, the road of domestic animation. Despite the dangers, the pace has been powerful