When Disney chooses a particular culture as the carrier of the film, it must have discovered that it has the possibility of discovering a breakthrough in the animation style of this culture. I think this should be a breakthrough in form.
In terms of character modeling, Disney has greatly borrowed the casual, freehand and connotative character portrayed in Chinese paintings. A few strokes will show the character's look, mood and inner character.
You will also find that the film uses a large number of freehand ink paintings as the background. Landscape, flowers, gardens, fields. The color is not as strong as Disney's usual, but completely imitates the lightness of ink painting.
But note that the ink and wash background here does not have the ink-run rice paper feeling that the tadpoles used to find their mothers, but on the basis of freehand brushwork, it incorporates Disney's consistent sense of solidity. Although the background is empty and majestic, and the foreground is well-defined, the foreground and background are consistent in highlighting the thick color and lustre. If you take a closer look, it is less chic and more disciplined. It's like a cursive flick, which should have drifted away leisurely, but was lightly stopped by the writer.
This kind of tail can obviously cater to the tastes of American audiences, but I don't know whether the masters of traditional Chinese painting can accept such changes. Indeed, Chinese culture is put on the screen by others, and it is kind and somewhat awkward. Maybe the Americans don't appreciate or understand the fragility of the East.
In any case, this kind of attempt and innovation is worthy of our learning and reference. From my personal point of view, the field of Chinese ink and wash animation should be a new world that has been rarely developed by the predecessors and has a bright future for future generations. It is like the clay animation in the UK and the animation in Japan. It is to establish its own brand in the field of animation. No matter how rich your American animation funds are and how superb your technology is, everyone is equal on the level of imagination, as long as I have me. The independent style, I have independent space to use my imagination.
Imagination is the essence of animation, and imaginative animation will always have an audience.
We do not lack imagination, we lack independent space.
Speaking of which, Disney has put a lot of effort in digging out the form of ink painting. The most obvious is that Lao Mei can tap the potential of ink painting on the basis of grasping the strong foundation on which technology is based.
The towering snow-capped mountains, thousands of arrows are sent; the vast snow sea, the horses galloping. The surging snow, roaring in, and rushing away, technology allows ink figures to move smoothly between ink and water landscapes. Ink figures and ink landscapes give the picture a clever atmosphere and vast momentum. We know that those are flashing. Film, but we would rather believe that that is the world-shattering dream we once had. The one struggling on the battlefield and drifting in the snow is ourselves-I am the hero! The climax is over, and I don't want to wake up from the dream.
This is the charm of technology, but also the charm of ink painting.
In the sentence at the end of the previous paragraph, I originally wanted to write "To maximize the potential of ink painting." But after thinking about it, they are far from penetrating the "essence" of Chinese ink painting. Only we ourselves are qualified and able to continue to dig and bring this culture to the extreme.
As of today, writing this thing is not easy.
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