What is the source of the charm of "national style" held in the seminar of "China Strange Story"?

　　Chinanews.com, Beijing, February 25th (Reporter Gao Kai) With its rich and exquisite style of painting and novel and interesting storylines, the previously broadcast online cartoon "China's Strange Story" has received a lot of attention and praise since its debut.

According to statistics, the major platforms generated more than 530 hot searches such as "China's Wonderful Tan Lianmai" and "China's Wonderful Tanfengshen", with 4.32 billion views on Weibo and 230 million broadcasts on station B.

The Douban film scored 9.6 points, and it remained firmly in the 9-point category until the end of the serialization.

　　A few days ago, the online animation "China Strange Story" seminar sponsored by the Network Audio-Visual Program Management Department of the State Administration of Radio and Television and the China Television Art Committee was held in Beijing. The study discusses how the national innovation network animation is inherited and innovated.

　　"China's Strange Story" is jointly produced by Shanghai Animation Film Studio and Bilibili (hereinafter referred to as "Bilibili"). The work consists of eight independent stories rooted in Chinese traditional culture. Classic Folktale Animation Creation Project (Internet Animation) Key Support Project".

　　At the meeting, Su Da, the director of Shanghai Fine Arts Film Studio, introduced that "Chinese Strange Story" is not only the inheritance and review, but also the starting point of the new century of Chinese animation. Chinese symbols in a narrow sense use modern concepts and technical means to present Chinese aesthetics and tell Chinese stories well.

　　Yu Shui, the director of "Little Monster's Summer", said that the world view of "Little Monster's Summer" comes from the blueprint of "Journey to the West", and at the same time it is an original story, allowing the audience to see a brand new story in the atmosphere of classic masterpieces. The story uses the past for the present, and promotes the energy of positive emotions. From the perspective of traditional heroes and small characters, it gives characters more possibilities to take on roles, and resonates with the emotions of the audience.

Talking about the Chinese charm of the film, Yu Shui said that in addition to the picture style, it is more important to tell a story that reflects the Chinese people's way of doing things and national character.

　　Zhang Gedong, a professor at the School of Animation and Digital Art, Communication University of China, and executive vice-chairman of the Digital Art and Animation Committee of the China University Film and Television Association, believes that "Chinese Strange Story" is a new reflection and new reflection of Chinese traditional culture and mythological stories in the Internet age. The expression, from myths and fairies to the future of science fiction, fully demonstrates the diversification of themes and presents the characteristics of Chinese-style "odd tales".

Some short films combine the character images in the classic stories with the new era for a second innovation, a new interpretation of the tradition, and fully demonstrate the narrative theme of "Tan".

　　Yuan Li, a professor at the Chinese National Academy of Arts and vice-chairman of the China Folk Literature and Art Association, pointed out that using monster stories to think about life is a highlight of "Chinese Stories".

It is a very good thing that the work can use psychological theories to carry out folk interpretation.

As for the Chinese style and Chinese style in "China Stories", he said that Chinese style, including color, music, and narrative mode, has specific rules. If you use it well, you may get countless "mother's tastes" and arouse people's love for Tradition love.

　　Lu Fan, Director of the Audio and Video Office of the Media Center of Peking University, believes that the "national style" charm of "Chinese Stories" not only comes from the innovative application of various Chinese art styles such as paper-cutting, ink painting, and even stop-motion animation, but also lies in its uniqueness. The expression of thinking, narrative methods and cultural background are Chinese.

He pointed out that the future of Chinese animation is promising, and there is a long way to go. Only by revering tradition, keeping upright and innovating, and only by building a story of national subjectivity from the bottom-level thinking and cultural foundation, is the real source of "national style".

　　In the view of Chen Zhen, deputy head of the review group of the State Administration of Radio and Television, "Chinese Strange Tales" is precisely targeted, fantasy projects reality, meets and fits the aesthetic needs of Generation Z, and uses fantasy forms to express the realistic concerns of young people; interactive Intertextuality, rich "second creation" improves the timeliness of communication, turning positive energy into a large flow.

　　Yi Kai, secretary-general of the China Television Art Committee, believes that this work is an inheritance of the creative concept and essence of the Shanghai Animation Film Studio, and it is a gift for the centenary of Chinese animation. The creative spirit of creating excellent original high-quality content can promote the sound development of the animation market.

In addition, "China Strange Tan" pursues the greatest common divisor of emotional resonance to unlock the code to break the circle. The core of each story in it is rooted in social reality, accurately capturing the issues that are generally concerned by the current society, allowing the audience to gain multi-level emotions. resonance and aesthetic experience.

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