China elements in Japanese anime.

1. Japan is the animation kingdom in the world today. The Japanese cartoon world seems to be a real world-taking its own country as the axis and absorbing the cultural elements of all countries in the world. As a country close to Japan, China is also a country with the closest cultural background. China's culture has had a great influence on Japan since ancient times, which is also reflected in Japanese cartoons.

Generally, there are three forms of expression of China cultural elements in Japanese animation.

One is that the whole story takes place in China, with China as the background; Secondly, it incorporates a lot of China culture; Third, take a China person as the protagonist or supporting role of the story.

In fact, the first one is rare in Japan. I'm afraid it's also because this is the stage of other countries, and it can't get more emotional recognition. But then again, in fact, the number of this type is not small, but the proportion is still a little less.

This kind of story set in China seems to be impressive only by copying or adapting China's classics, such as Romance of the Three Kingdoms, Water Margin, Travel Notes, Romance of the Gods, Legend of the Dragon and the Wolf, and Heavenly Road.

The reason may be that Japan, as a nation, has a strong sense of self-identity for a long time. In this land, it is easy for the public to accept stories set in the countryside.

As a representative work of this type, Brilliant as Stars, Flowers, Snow and Moon Series is not only a good cartoon, but also the best embodiment of the upper culture of China's poetry, calligraphy, piano, chess, calligraphy and painting. Koko Fujita, the author of this book, is definitely an expert on China.

Perhaps, the reason why there are few cartoons with complete China as the background is because the author's China cultural complex is also very important.

The second one is more common in Japanese animation.

No matter what kind of culture, it has a certain permeability, and this permeability is usually proportional to the length of the culture itself.

China's culture should be the longest-lasting culture in the world, and its permeability is strong enough to surpass today's American culture.

As a neighbor of China, Japan has been influenced by China culture since ancient times, between Dahan cultural circle and Datang cultural circle.

Many times, there are many humanistic factors in animation, and animation is a cultural carrier. It is difficult to distinguish whether this is China's culture, Japan's own inherent culture, or Japan's profligacy of China's culture.

The representative works of the second category include The Incredible Game, The Twelve Kingdoms and The Steam Wheel.

The above three works are adventure records of different worlds, and their common feature is that a large number of characters and monsters in China myths and legends are used in different world environments.

From this point of view, China's culture can attract Japanese people, except for classics, perhaps only rich and colorful myths and legends.

The third type is the most common in Japanese animation. China people can be found in almost every classic. Just look at the famous cartoons since the 1990s. China people are everywhere.

Li in sakura wars, shampoo in Luanma 1/2, Tong Hu in Saint saint seiya, King Tong Ling, and even Count D in the pet shop of horror, which is the main character of animation.

In addition, as an extension of the third type, there are many animations of China cultural forms that are so natural that people can hardly feel them.

For example, "loss! Liang Shanbo in boys' school, Duolin Temple in Dragon Ball, and Tibetan Wave Qigong in JOJO.

In fact, animation, as a major industry in Japan, inevitably sums up the information from all over the world into its own belly. Without such a mind, Japan's animation industry could not have developed like this.

However, the Japanese animation industry has not only learned a certain country, but also learned the culture of a certain continent, a certain region and a certain nation.

In the world of animation, the world is best reflected. China, as a close neighbor of Japan, is also an opponent who has interacted with each other for centuries. The Japanese should consciously or unconsciously acknowledge the profoundness of China culture, both in mind and orally.

Introducing China culture into the works can not only improve the taste of the works, but also attract people's attention. Why not?

Originally, this was a good opportunity, and we should take this opportunity to develop Chinese mainland's animation. Unfortunately, due to the official center model of China society, proper communication has not been developed.

Nowadays, there are almost no cartoonists who insist on working in the front line, and there is no news of Hu Rong's visit to Japan. Only when the animation "Dangerous Agent MEZZO" just played is made by Shanghainese can people feel a little refreshing.

Although it is only background production, perhaps, with the deepening of cooperation and exchange, Chinese mainland's animation will also be greatly improved.

Well, it's time to put an end to these gossips.

Finally, the cultural elements of China in Japanese animation, like the phrase "Follow his original fate" used in animation, have quietly influenced Japanese animation, the Manchu in Japan.

Perhaps, Japanese people's understanding of today or ancient China is largely due to anime works, and we can learn about Japan through Japanese anime.

Perhaps this is the most fundamental and realistic communication about animation between China and Japan.

It's just that this kind of communication always makes people feel unspeakable sadness.

2. Starting from twelve countries.

Based on the overhead ancient China, this work tells the story of Yoko, a young girl, crossing to another world and becoming the king of a country from a cowardly three girls.

I feel that the background of China in this work is relatively real, and most of them restore the ancient fairy tales of China, and describe the relationship between the king and his deputies very deeply and vividly, which makes people move.

Although Japanese anime mentioned that China has three elements: "cheongsam", "martial arts" and "surname Li", I feel that the Twelve Kingdoms are not limited to these elements, which can make people know China more comprehensively. However, it's all empty anyway, so you don't have to study history seriously.

The above is my personal experience.

3. 1, adapted from the history of China.

A number of game cartoons related to the Three Kingdoms were adapted from The Journey to the West and The Romance of Gods.

2. China's historical works.

"Little Master China" tells about China's food culture = _ _ _ _ _ _ =

Cai Yun Country Story is set in China.

The 12th National Congress has estimated the budget, but I haven't read the original = =

3. The leading role and supporting role are both from China.

Terrible pet store, Earl D seems to be from China. ...

Li Xiaolang (born in Hong Kong) in KINOMOTO SAKURA the Magic Card Girl.

Tao Ren and Daorun in The King of Soul (the God of Daorun is Bruce Lee, ORZ).

There are quite a lot of people in China during the day. =~

Generally speaking, I think you can start from these three aspects and talk about the author's attitude and the development in recent years. However, apart from the enduring theme of the Three Kingdoms, China is really nothing special. And in general, people in China are not good people = ||||||| | ... black dogs.

You have to sum up the details yourself, after all, what you said is too general = =, but to tell the truth, although China has a profound culture, the integration of ideas and resources in all aspects is done by the Japanese, and we can't say how much they have taken advantage of us. You can say two episodes of Kung Fu Panda and Mulan, but in my opinion, those things are all made by foreigners for foreigners to see, just painted skins. The essence and essence are still the western individual heroism, which is not comparable to that of China.

Few high-level people in China really take animation as their career. The legendary Cat L, Hi YY and the upcoming Confucius are not for the audience. They don't know whether they are taking credit or being in the limelight. Forget it without technology, even the script is so bad, let alone dubbing ... God, I cried.

In a word, I think only by seeing the facts can we make real progress, and there is nothing wrong with criticism. How wide and influential it is, is the victory of Ah Q..

The above is a comprehensive summary.