Sustainable Development Strategy of Chinese Animation Industry
Abstract
:1. Introduction
2. Literature Review
2.1. Literature Review of China’s Animation Industry
2.2. Challenges and Problems Faced by China’s Animation Industry
2.2.1. Contents
2.2.2. Industry-Oriented
3. Methodology
4. Sustainable Development Strategy of the Chinese Animation Industry Based on the Diamond Theory
4.1. Production Factors
4.1.1. Funds
4.1.2. Talents
4.1.3. Technology
4.2. Demand Conditions
4.3. Related and Supporting Industries
4.4. Enterprise Strategy
4.5. Cultural Factors
4.6. Government
4.6.1. Industrial Policy
4.6.2. Legal System
5. Conclusions
Author Contributions
Funding
Institutional Review Board Statement
Informed Consent Statement
Data Availability Statement
Acknowledgments
Conflicts of Interest
References
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Time | Stage | Features | Development Course |
---|---|---|---|
1922–1945 | Germination stage | The production level kept pace with the world level at that time. The manufacturing process was complex, the output was low, the market share was small, and the sustainable circular development industrial structure was not formed. | In 1922, the Wan brothers filmed China’s first animated film, Uproar in the Studio, which started the journey of animation development in China. In 1941, they produced Asia’s first animated feature film, Princess Iron Fan. |
1946–1965 | Prosperous period | Gained rapid development and realized the transformation from black and white to color. Set up a professional factory for independent animation production and created the animation style of “Chinese School” by combining opera, ink painting, paper cutting, puppets, and other artistic forms. | The Shanghai Animation Film Studio was established in 1957 and became the first cartoon production base in China. In 1961 and 1964, the first and second episodes of The Monkey King were launched, respectively, which became the peak works in the history of Chinese animation. Both production technology and artistic attainments were at the highest level in the world at that time. |
1966–1976 | Stagnation period | The number of works has decreased sharply, and industrial development has almost completely stagnated. Not only has China been overtaken by other countries, but it has seen a talent gap, backward technology, aging equipment, and rigid concepts. | Due to social environment reasons, animation production bases have stopped production one after another, which has greatly impacted the animation industry and resulted in serious obstruction of industry’s development. As animation works were far away from their commodity attributes, they lost their economic significance. |
1977–1998 | Recovery period | A number of animation production departments emerged and tried to use market-oriented management methods to manage the enterprises. The animation industry carried out system reform and began to have the concept of an industrial chain. | With the reform of the economic environment, the rapid development of the national economy, the growing popularity of TV, and higher demands for animation boosted the production of series cartoons. However, at the same time, a large number of foreign animation works entered the Chinese market, which impacted the Chinese animation industry. Although Chinese animation was developing continuously, its development speed was slow and fell behind the pace of developed countries. |
1999–to date | Development period | The number and quality of animation works are increasing, and there are more and more animation production enterprises. While policy support promotes the development of the animation industry, it has not yet formed a mature industrial chain. | The Magic Lotus Lantern, as produced in 1999, was called China’s first domestic animation blockbuster. However, due to improper connections between upstream and downstream industries and the inadequate development of derivative products, the income was not high. Similarly, 2015’s Monkey King: Hero is Back and Ne Zha, the number one animation box office in Asia in 2019, was plagued by problems in derivative product development. It can be seen that China’s animation industry has not formed a sustainable industrial development model at present. |
Time | Issuing Body | Policy Name |
---|---|---|
2011 | Ministry of Culture, Ministry of Finance, State Taxation Administration, and General Administration of Customs | Interim Provisions of Animation Enterprises on Exemption from Import Tax on Animation Development and Production Articles Imported by Animation Enterprises |
2012 | Ministry of Culture | National Animation Industry Development Plan during the Twelfth Five-Year Plan Period |
2013 | National Radio and Television Administration | Nine Measures to Promote the Development of Domestic Animation Films |
2014 | Council of State | Some Opinions on Promoting the Integration and Development of Cultural Creativity and Design Service Related Industries |
2015 | Council of State | Opinions on Several Policies and Measures to Vigorously Promote Mass Entrepreneurship and Innovation |
2017 | Ministry of Culture | Cultural Industry Development Plan during the Thirteenth Five-Year Plan Period |
2019 | National Radio and Television Administration | Opinions on Promoting the High-quality Development of Radio, Television, and Network Audio-visual Industry |
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Fan, K.-K.; Feng, T.-T. Sustainable Development Strategy of Chinese Animation Industry. Sustainability 2021, 13, 7235. https://doi.org/10.3390/su13137235
Fan K-K, Feng T-T. Sustainable Development Strategy of Chinese Animation Industry. Sustainability. 2021; 13(13):7235. https://doi.org/10.3390/su13137235
Chicago/Turabian StyleFan, Kuo-Kuang, and Ting-Ting Feng. 2021. "Sustainable Development Strategy of Chinese Animation Industry" Sustainability 13, no. 13: 7235. https://doi.org/10.3390/su13137235
APA StyleFan, K.-K., & Feng, T.-T. (2021). Sustainable Development Strategy of Chinese Animation Industry. Sustainability, 13(13), 7235. https://doi.org/10.3390/su13137235