Domestic animation narrative says that education lacks value core and needs more creative expression

The civilized narrative of domestic films closes the emotional space and experience space where the narrative, characters 'personalities resonate with the audience, thus making it difficult to open up its multi-level value space.

In recent years, my country has introduced a number of policies to support the development of the animation industry. The output of domestic animation ranks first in the world, but the animation quality is not satisfactory, and there are serious tendencies such as violence, vulgarity, childish, and preaching. Popular animations have repeatedly sparked heated discussions in the media due to language and behavioral violence, or the adulteration and vulgarization of lines. Moreover, because some of these violent behaviors triggered children's imitation and led to tragic incidents, the value issues of domestic animations have highlighted the value of domestic animation. The anomie of the industry.

In fact, in the perspective of the contemporary global cultural industry, the expression and communication of values need to rely on story creativity, technical power and capital assistance to achieve the most effective results. Among them, creativity is the core of value expression, which is prominently expressed in the creative thinking and methods of producers. This is the internal perspective and production perspective arising from studying value issues from the perspective of animation ontology.

Our country's animation industry lacks an understanding and expression of the attractive value core of animation: in order to attract audiences as much as possible, various adult vulgar tastes are incorporated into animated films, thus forming a creative misunderstanding in the expression of animation values. Domestic animations ignore the correct, reasonable and interesting design of the behavioral motivations of the animation protagonists. Therefore, the expression of their behavioral motivations often presents a didactic character, and their growth process is often absent, which affects the in-depth exploration of their value core and the effectiveness of their value recognition mechanism. The civilized narrative of domestic films closes the emotional space and experience space where the narrative, characters 'personalities resonate with the audience, thus making it difficult to open up its multi-level value space.

Taking the American animation "Kung Fu Panda" as an example, Po harbors a heroic dream. This dream forms a very interesting tension with the naive and cumbersome nature of the panda itself. It is very consistent with human compensation psychology, so this kind of long-term buried in people's inner motivations can easily arouse people's recognition and resonance. Such an image itself is very popular. It is this popular image that contains the possibility of a logical unfolding of the narrative, and the inherent contradictions of the narrative can thus unfold. The clumsiness of the body always constitutes the biggest resistance to the realization of his heroic dream. Therefore, he has more yearning for secrets than others, and also has inner anxiety and hesitation that his dream is difficult to realize. Therefore, he also has the idea of retreating, but finally understands the essence of kung fu: the individual's efforts to defeat the self are the essence of kung fu, presenting a true understanding of personal growth, thus giving a story about the growth of a martial arts hero the value connotation of universal growth.

Looking back at the domestic animation "Bear Haunted", why Xiong Da and Xiong Er wanted to protect the forest also lacked the necessary logical narrative, and Baldhead Qiang actually represented the squeezed bottom of society and cut down trees for survival. However, this was because of human survival. The contradiction between "environmental protection" and greening has not been further examined, but only stays in the setting of using it as an environment, causing this cartoon to become a farce that has nothing to do with good or evil, and losing its opportunity for full-age development. In contrast, facing the conflict between survival and ecology, Hayao Miyazaki's deep-seated philosophical thinking in "Ghost Princess" deserves profound reflection by our animation creative workers.

Animation is the art of imagination and fantasy. It touches the innocence in the human soul and the richness of human thinking. This is the core of the value of animation art. But this does not mean that cartoons can express themselves at will. As a narrative art, their creativity must conform to the basic rules of human storytelling. Therefore, the creative law of animations can be said to be an internal integration established between animation ontology and narrative ontology. The rationality, richness and infectivity of their value expression need to be created and presented from this creative law. The problem of expressing the values of domestic animation is caused by a misunderstanding of this creative law. Therefore, when tracing the source, animation creation still needs to return to the ontological logic of animation art.

More and more research shows that creativity is not a mysterious inspiration, but a new combination of old elements that rely on experience and vision. To allow the brain to absorb raw materials as much as possible, we must not only maintain a strong curiosity about things in life, but also read extensively, be familiar with ancient and modern times, and widely understand public knowledge.

Editor: Nancy