中国动漫产业的崛起？

Echoing the reform of China's cultural development at this year's NPC and CPPCC sessions, a new exhibition showcasing China's achievements in comics and animation over the last 5 years is being held in the National Museum. Now Mu Fangzhou takes you there for a retrospective on Chinese animation.
为了响应今年人大会议和政协会议提出的中国文化发展改革，一场展示中国过去五年的漫画和动画片的新成就展在国家博物馆举行。现在，Mu Fangzhou带你去那里，回顾一下中国的动画片。

This is not your typical comic convention or anime festival. It's an event full of texts, numbers and figures, and the data is positive. Having rapidly increased its political and economic might globally, China is now eager to boost its cultural appeal. Since the 17th CPC National Congress in 2007, a string of policies supporting the domestic animation industry came into effect, and here in the National Museum you can learn how the business has been doing since then.
这不是典型的漫画大会或动漫节。活动充满了文本、数字和数据，资料是积极的。中国在全球的政治、积极力量已不断增强，现在，中国渴望提升其文化吸引力。自2007年中共十七大以来，一系列支持国内动画产业的政策开始实施，在国家博物馆这里，你可以了解从那时起的业务。

The progress over the last 5 years has been dramatic. The average growth in output for Chinese animation has been as much as 50 percent annually. The period also saw a tripling in the number of animation studios, a doubling in the number of animated movies and tripling in the total length of animated TV series. The amount of comic books published in 2010 almost reached 350-million copies nationwide.
过去五年的发展是动态的。中国动画片产量的年平均增长率高达50%。这段时期也见证了动画制片公司数量增加了两倍，卡通电影的数量翻倍，卡通电视剧的总长度增加了两倍。2010年全国出版的漫画书数量达3.5亿册。

But for an animation fan, what does these numbers mean?
但是对于一名动画片粉丝而言，这些数字意味着什么呢？

Gao Weiran, animation department director, Communication University of china, "Obviously, the fans now have more choices, and the pressure from peer competition will encourage the animators to create better works. Meanwhile, the development of the animation scene means new blood is needed, so it's a better environment for newly emerging talents. It's a virtuous circle of creation and feedback."
中国传媒大学动画系主任Gao Weiran称：“显然，粉丝们现在有更多的选择，来自同行竞争的压力将鼓励动画师创作出更好的作品。同时，动画镜头的发展意味着需要新的血液，所以对新兴人才而言，这是一个更好的环境。这是创作和反馈的一种良性循环。”

A growing number of major art colleges now offer programs in animation, hoping to scout young talented storytellers and artists. But it's never easy to create an endearing figure, nor a touching story. At the exhibition, there are a few animators demonstrating their efforts. Little do the fans know that more often than not, painters need to sketch every frame of their cartoon by hand, and every second needs 24 frames to capture the character's movement. This heavy workload is often less than exciting and even scares off many potential animation apprentices.
现在，越来越多重要的艺术院校提供动画课程，希望物色年轻、有才能的故事创作人和艺术家。但是创造一个讨人喜欢的人物或一个感人的故事绝不容易。很少粉丝会知道，画家往往要手工绘制卡通片的每幅画，每秒钟需要24幅画来捕捉人物的动作。这种沉重的工作量常常不是令人兴奋的，甚至吓跑了很多潜在的动画学徒。

Gao Weiran said, "The industry needs different roles, and as an educational institution, we pay much attention to bring out the undiscovered gift of our students, and let them learn and practise by attending various workshops and interns in renowned animation studios, so that they would know how an animation production is made, and what they want to be in the future. At the moment, a skillful animation technician is more favored in China, but everyone in the business knows that a good screenplay writing is the key to success."
Gao Weiran表示：“这个行业需要不同角色，作为一所教育机构，我们非常注重挖掘我们学生的潜在天赋，让他们通过参加各种不同的专题研讨会、到知名动画制品公司实习来学习和实践，让他们知道动画作品是如何制作的，他们将来想成为什么。目前，在中国，熟练的动画技术人员更受欢迎，但是这个行业的每个人都知道，好的电视剧本写作是成功的关键。”

Now cities like Beijing, Shanghai and Shenzhen have established high-tech zones aimed directly at accommodating and nurturing new animation firms. Up-to-date motion-capture studios and fast rendering software are being used, but still, it remains to be seen whether China can overcome what even the industry insiders describe as the biggest problem: a dearth of originality and artistic creativity. What's worse, there's a lemming mentality where too many people relying on government patronage. With all these people hopping on the bandwagon it can actually end up stifling the vitality of art.
现在，北京、上海、深圳这样的城市已经建立了旨在直接容纳和培养新动画公司的高新区。最新的动态捕捉工作室和快速的渲染软件正投入使用，但是，中国能否克服业内人士形容的最大的问题：缺乏独创性和艺术创造力仍尚待分晓。更糟糕的是，出现了一种太多人依靠政府资助的心态。由于所有这些人都跟上这股浪潮，实际上最终可能抑制了艺术的活力。

But for better or worse, for an industry that has just got through its twelfth year, there is still a lot to learn from the leading countries, such as Japan and the United States, who have had a huge influence on China's booming animation scene, both on business and on art. A lecturer from Communication University of China teamed up with his students and created "Kung-fu Bunny", a familiar character setting with an unexpected twist of humour. The stop-motion anime featuring a cartoon bunny in real life background created an online sensation on video-sharing websites.
但是无论好坏，对一个刚刚度过12个年头的产业而言，要向日本、美国等领先国家学习的还很多，这些国家在商业上和艺术上都对中国繁荣的动画场景有巨大的影响。中国传媒大学的一位讲师和他的学生合作，创作了“功夫兔”这个以出人意料的幽默转折为背景的熟悉人物。这部单格拍制的动画片以现实生活背景中的卡通兔子为特色，在视频分享网站上引起了网络轰动。

Official merchandise is also proving a big hit with consumers. While remaking the Chinese classic "Mulanhua", a.k.a. "The Magic Aster", Shanghai Animation Film Studio also developed an application on iPad, allowing downloaders to read the script, watch movie clips and music videos, as well as to play an interactive game. The bold attempt has brought the 2009 cartoon movie back into the spotlight.
官方商品也被证实是大受消费者欢迎。在重拍中国经典作品《马兰花》时，上海动画电影制片厂也在iPad上开发了一款软件，允许下载者阅读剧本、观看电影片段和音乐视屏，还可以玩人机互动游戏。这种大胆的尝试将2009年的卡通电影带回到公众的焦点中。

CCTV's Mu Fangzhou said, "Considering the range of diversions in this digital age, the cartoons that compromise on plot in favor of leaning on tired old themes will soon be left out of the game. And just as the IT people say that 'Content is King', a good story is still the best way to capture the hearts of the fans."
央视记者Mu Fangzhou表示：“就这个数字时代的娱乐范围而言，依靠陈旧的主题为情节的卡通片很快将被淘汰出局。正如IT人士所说的，‘内容就是国王’”，一个好的故事仍然是赢得粉丝的心的最好方法。”