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Ink Animation at Digital Media Era

  • Meiying YinEmail author
Conference paper
  • 35 Downloads
Part of the Advances in Intelligent Systems and Computing book series (AISC, volume 1147)

Abstract

The confuse of concepts about “animation” in China was occurred after “animation” took the place of “cartoon and puppet films”. Knowing about the reason why “animation” took the place of “cartoon and puppet films” is an important way to disclose the overlapping and offside of concepts of “animation” [1]. At the time of 1950s when animation in China was called as cartoon and puppet films, Te Wei, the plant manager of Shanghai Animation Film Studio, set a requirement to animations – to explore national style. At that time, animation personnel in China worked hard to go ahead by exploring the national style. For example, animation artists made great innovations and absorbed the features of ink wash paints, like Little Tadpoles Search for Their Mother (1960), Pastoral Flute (1963) and Feelings of Mountains and Waters (1988), they were animations with great national style, famous in China. Or even some extraordinary and unforgettable works were made after being called by Te Wei. Because of the spring-up of these animations and the great reputation made in the world, “Chinese School” was born at the right moment.

Keywords

Animation Digital media Ink animation 

Notes

Acknowledgments

This research was supported by Course construction of Shanghai University of technology 19xkc010 history of art and design (project number: 0243-A1-0902-19-01210).

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Copyright information

© Springer Nature Switzerland AG 2020

Authors and Affiliations

  1. 1.Sino-Korean School of Multimedia DesignShanghai University of Engineering ScienceShanghaiChina

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