• Title/Summary/Keyword: Big Fish&Begonia

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Analysis on the Traditional Cultural Elements of the Chinese Animated Film Big Fish & Begonia (중국 애니메이션 영화 <나의 붉은 고래>의 전통문화원소 분석)

  • Dou, Guo-Hao
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.7
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    • pp.165-172
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    • 2019

  • The animated film Big Fish & Begonia is a new attempt of Chinese animated films in recent years. Both market performance and artistic creation are an improvement. In the process of creation in the past ten years, Big Fish & Begonia has profoundly excavated Chinese myths and legends and combined them with modern art. This study takes the traditional Chinese cultural elements in the film as the starting point for research, from the aspects of character design, scene design and national culture. Through the analysis of the traditional cultural elements in Big Fish & Begonia, try to find a better direction for the development of animated films, such as the integration of modern art and traditional culture. It is precisely because of the large number of Chinese cultural elements incorporated in the Big Fish & Begonia that it is ingeniously set up to bring visual enjoyment and inner resonance to the audience.

  • https://doi.org/10.21184/jkeia.2019.10.13.7.165 인용

A Study on the Traditional Aesthetic Characteristics Appearing in the Chinese Animation -Focusing on Three Elements of Zong Baihua's Artistic Conceptions- (중국 애니메이션<대어해당 (大魚海棠)>중에 나타난 전통 미학 특징 연구 -쭝바이화(宗白華)의 의경(意境) 3가지 구성 요소 중심으로)

  • Yang, Kun;Lee, Seel- ku
    • Cartoon and Animation Studies
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    • s.47
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    • pp.53-79
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    • 2017

  • This study explored Chinese traditional art aesthetics in the , focusing on three elements 'principle', 'dance', 'blank' which consist of the artistic conception of Zong Baihua. In addition, this paper is aimed to prove that Chinese traditional aesthetics is still available as a creative element that can provides future direction and implication for modern animation movies by analyzing how the components of these three elements were used in the and how the artistic beauty of the animation was presented. In the critiques of Chinese art, the scope of 'conception' is the 'qualified' standard about art. This 'qualified' standard includes not only external similarity in forms but also internal similarity in spirits. The authors of the early Chinese animations integrated the artistic conceptions with the animations and expressed the national cultural contents of the Chinese animations, so that the audience could deeply understand the characteristics of Chinese animation with cultural and spiritual contents. Based on the artistic conceptions that Zong Baihua proposed, this study analyzed the character setting, the ideas that connotes and the scene composition. succeeded to the innovative spirits about Chinese early animation conceptions. The animation presented the view of life that includes the absolute freedom from Zhuangzi's "A Happy Excursion" and the oblivion of external objects. The heroine Spring's change from human to dolphin was presented by dancing. Besides, in the animation, the sea of clouds, the sky full of stars, sea, the sea melting into the sky were also presented in quantity. The large area of colors fantastically presenting in 'blank' scenes fully expressed the stories and sentiments of this animation. According to the analysis in this study, by identifying the traditional atmosphere that included heavy Chinese characteristics and harmonious conceptions in through the wisdom of Chinese classics and artistic conceptions, it can be confirmed that nowadays the artistic tradition of the classics still works as an extending innovative element in the future animations.

  • https://doi.org/10.7230/KOSCAS.2017.47.053 인용 PDF KSCI

A Brief Analysis of the Application of Chinese Traditional Culture in Big Fish and Begonia (<대어해당> 중 중국전통문화의 응용에 대한 간략 분석)

  • Xiaoli, Wang
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.5
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    • pp.67-72
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    • 2019

  • Animation is a comprehensive audio-visual art, animation literature, painting, music, architecture, photography and other art forms are integrated. China's animation industry has made some achievements in the new century, but on the whole, with the globalization of China, China's animation industry has been influenced by Japan and the United States. China has a history and culture of five thousand years, with profound social deposits and cultural foundation. Of the four ancient civilizations in the world, the Chinese civilization is the only one that has survived. China has too many stories to tell. From the development history of Chinese and foreign animation, we can see that many Chinese traditional cultural elements are used for reference. Since the 1980s, Chinese animation has been on the road of national revival. Chinese animation has begun to draw close to traditional culture in terms of themes, characters and scenes, and integrate Chinese traditional cultural elements. The theme of big fish and begonia is to repay kindness by sacrificing one's own life for the sake of justice and friendship. This fearless spirit of sacrificing one's life for justice is the concentrated embodiment of the fine qualities of the Chinese nation over the past several thousand years. Kun to save chun and give up his life, chun in order to repay rather give up half of his life, and qiushui in order to help their beloved, also would rather give up all of their own. These three protagonists are very distinctive personality characteristics, are to "righteousness" and give up their most precious things. At the same time, big fish and begonia combines many traditional Chinese cultural elements to form an animated film with Chinese characteristics.

  • https://doi.org/10.21184/jkeia.2019.7.13.5.67 인용

The symbolic representation of Fujian tulou in the animation (애니메이션<나의 붉은 고래, 2016>에서 재현된 푸젠성 토루의 상징성)

  • Gu, Xue-ping;Lee, Hyun-Seok
    • Proceedings of the Korea Contents Association Conference
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    • 2018.05a
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    • pp.127-128
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    • 2018

  • 애니메이션 영화 <나의 붉은 고래, 2016>는 처음으로 전통 건축인 토루가 영화와 직접 연관 지어 제작된 애니메이션 작품이다. 토루가 갖는 역사성, 민족성, 전통사상은 극의 서사와 배경구성에 긴밀히 결합되어 애니메이션화 되었다. 이에, 본 논문은 푸젠성 토루의 상징적 역사적 의미와 문화가 어떻게 애니메이션 <나의 붉은 고래, 2016>에서 재현되었는지 알아보고자 한다.

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Characteristics of Postmodernity in Chinese Animation Films

  • Cao Yijun;HyunSeok Lee
    • International Journal of Internet, Broadcasting and Communication
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    • v.16 no.1
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    • pp.297-306
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    • 2024

  • At a specific juncture in industrial development, animation emerges as a product imbued with discernible features characteristic of the mechanical replication era. Through the integration of technology, it continually gives rise to postmodern cultural traits. Notably, the trajectories of postmodernism in China and Western Europe exhibit divergence. Following the reform and opening up, both postmodernism and modernism found acceptance and became interwoven. Chinese animated films, influenced by postmodernism, actively challenge traditional animation norms, exemplifying postmodern characteristics such as deconstruction, intertextuality, indeterminacy, collage, and diversity. This article endeavors to delve into the discourse surrounding postmodernism in both Western and Chinese contexts. It aims to scrutinize the manifestation of postmodern features, particularly with regard to ethnic elements, traditional mythological texts, and gender representations in Chinese animated films. Consequently, it becomes imperative to contemplate the affirmative adaptation and independent development of postmodernism within the unique Chinese milieu. Building upon an analysis of noteworthy traditional animated film genres and developmental trends in China, this study focuses on animated films from the 21st century, specifically Monkey King: Hero is Back, Big Fish & Begonia, Dahufa, White Snake and Nezha: Birth of the Demon Child. The paper seeks to explore the overarching characteristics of postmodernity reflected in the linguistic environment of postmodernism in China.

  • https://doi.org/10.7236/IJIBC.2024.16.1.297 인용 PDF
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