What are the characteristics of American, Japanese and China's animated characters?

Second, the characteristics of Japanese animation

The English spelling of ANIMATION is animation. In the past, people often confused animation with cartoon, but with the increasing influence of Japanese animation, a special term-animation, which means Japanese animation, appeared. The word was originally invented by the Japanese themselves, but it was recognized by people with the popularity of Japanese animation. This recognition is precisely because the popularity of Japanese animation is not only in a few countries-this popularity is worldwide, and even spans the cultural differences between the East and the West (relatively speaking, the style of Japanese animation is more suitable for the oriental audience with the same implicit emotional expression). In the United States, where animation has always been in the leading position in the past, there are even more supporters of Japanese animation style than many eastern countries. 1996, Ghost in the Shell, which was produced by Shinji, defeated the classic film True Lies by Schwarzenegger, a famous Hollywood star, and occupied the first place in the American BILLBOARDDVD sales list that year, creating a myth. The network problems mentioned in the film and the use of the network can be seen everywhere now, and its foresight makes this animated film made as early as 1995 become an epoch-making science fiction work. Even the movie THE MATRIX, which has recently swept the world, can find traces of imitating this animation.

Why does Japanese animation have such influence? This should start with the development history of Japanese animation. The first color animated film in Japan was The Legend of the White Snake produced by Toyo Animation 1958, which can be regarded as the beginning of modern Japanese animation. Astro Boy, which was released in June of 58438+ 10, established a unique Japanese animation style, focusing on the plot, not pursuing the image effect, but attaching importance to the characterization. It is also the first sci-fi animation in Japan. This work by Osamu Tezuka has a far-reaching influence on the development of animation. After the 1960s, Japanese animation was in the exploratory stage, with diversified themes. The performance of Leiji Matsumoto's space battleship Yamato in 1974 declared that Japanese animation entered a golden age in history, which lasted until the TV screening of the mobile suit Gundam of Toyo Foreign Company ended in 79. During this period, Japanese animation developed towards commercialization while defining the theme. Among them, the success of Mobile Suit Gundam not only created a new era of realistic robot animation, but also became an accelerant for the development of Japanese science fiction animation, especially soft science fiction animation. After a short depression, with the introduction of 1982 MACROSS, the second Japanese animation craze broke out. Because painting skills and script creation have reached a very high level, a large number of excellent works have emerged. It is worth mentioning that the two films that established Miyazaki Hayao's status today are Valley of the Wind and City in the Sky, followed by Mobile Police and Ghost in an Empty Shell. 1995, The Gospel Warrior of the New Century was released under the supervision of Hideaki Anno. This animation, which is full of psychological and religious terms, makes Japanese animation commercialized to the extreme. In recent years, Japanese animation has entered a strange circle of younger age, and there are only a handful of excellent works, which has entered the second trough.

Judging from the development of Japanese animation, I think its success lies in properly demonstrating the advantages of animation, which also reflects the Japanese's good learning ability and talent in other people's achievements. Compared with movies, animation has its unique advantages. Not limited by physical objects, modeling can be extremely exaggerated and more expressive than movies. Therefore, animation has incomparable advantages over other art forms in the development of surrealism. Japanese animation captures this point. Today, most Japanese animations contain a little sci-fi or magical elements to some extent. However, if a surrealist work can't grasp the distance from reality, it is often easy to fall into a deadlock that separates the audience because of absurd plots. However, the sensitivity of the Japanese nation makes Japanese animation handle the contradictory combination of surrealism and reality well. On the other hand, the emphasis on the spiritual level of Japanese animation is also an important reason for its popularity. On the one hand, Japanese animation pays attention to people's emotional life. ORANGEROAD, TOUCH and H2 in this kind of animation have been regarded as classics by domestic animation audiences. On the other hand, it is reflected in the deep excavation of theme ideas in Japanese animation. Even animations with realistic themes have become classics because of their ideological depth. For example, in The Millennium Heroine directed by Jin Min, there are only three protagonists, but the story spans several time and space, and the smooth split mirror vividly shows the theme of human persistent pursuit of faith. As soon as this blockbuster was released in 2003, it was well received by all parties in Japan. Some people have commented that the persistence of the heroine in "The Millennium Heroine" reflects the national spirit of Japan. Apart from these, the editing skills and montage application of this animation are already quite standard. This level of production, coupled with the pragmatic commercialization with Japanese labels, is the guarantee for Japanese animation to occupy the world market.

Compared with some so-called animated blockbusters with single and naive themes in the United States, Japanese animation is more diversified, introverted and profound. But he is good at describing the subtle feelings between characters, which is more suitable for oriental audiences. Therefore, many Americans think that the relationship between Japanese animated characters is too complicated and there are too many dialogues. In fact, this dialogue is the real essence of Japanese animation. It is with these dialogues that the audience can step into the hearts of the characters and get a glimpse of the strange ideas of the Japanese nation.