Animation films

In recent years, animations have frequently appeared in various cinemas, which is closely related to the rapid development of the animated film and television industry.

Animation is one my favorite kinds of movies. However, many audiences might think that animations are special themes for children. I have to admit that many animated films are more targeted at children’s markets, such as Disney.

Therefore, animation are not very well accepted by the grown ups. Many audiences believe that the rhythm of animations is not tense and stimulating enough to arouse their desire to watch. Even the Marvel films are made by real shooting plus post production instead of animated from comics.

Animated movies rely a lot on the visual content, it can present a rich visual effect, regardless of color, scenes, characters, can be manipulated by the production team. The emotions of characters in animations are often more difficult to express than in live-action movies, so the importance of dubbing is more prominent.

Compared with animated films, the limitations of real life remake films are obvious. When creating animated movies, the creators have to think about how to tell the story well, rather than how to present it in reality, which is almost two directions with the creation of real-life movies.

The first point to consider is how to shoot, how to restore animation to the real scene, which involves a lot of human and material resources coordination. And animated movies tend to be, the bigger the hole, the better the magic, the better, anyway rely on brushes and special effects, nothing is impossible.

With the development of technology, animation companies are increasingly good at restoring animated scenes to real life scenes. Many scenes seem to be photographed rather than painted, but in the process of restoring reality imagination and expression will be lost to a certain extent. The price of connecting real people with animation is that a large number of fantasy scenes are no longer fantastic, and the charm of fairy tales and the connotation of stories are greatly reduced.

In China, animation films are mostly for young children, or targeted for family audiences. The themes of animations are often full of positive energy, and they tend to be relaxed and pleasant. Such works have a positive role in promoting universal values and are an important reason why they can be widely accepted by the audience.

Although animation is not always young, children’s demand for animated films and the derivative market are driving the development of animated films. The image in the animation is very suitable for the development of derivatives, especially for children’s toys, dolls, books, stationery, snacks and other varieties.

Chinese films in International film festival

Similar to the “Nobel Complex” and “Guinness Complex” of the Chinese people, it seems that in the minds of film practitioners, as well as in the hearts of the general public, there is a strong “film plot complex”, especially the Oscar and the three major European film festivals. The history of any film is usually brilliant. It is usually related to the movie festival.
In the early years of China’s film industry, the influence of the art film, local art film workers with the help of this light and short film, using puppet, paper-cut, ink animation and other traditional means to transmit Chinese culture in the world. But at that time, Chinese films were basically isolated from the mainstream film festivals around the world.
Until the 1980s, a group of films with Chinese oriental characteristics began to win awards at the International Film Festival. The most iconic film is undoubtedly “Red Sorghum”, which was directed by Zhang Yimou and won the Golden Bear at the 38th Berlin International Film Festival, one of the world’s three largest film festivals.
The stage of the International Film Festival has made the world rediscover Chinese movies and exported the national images with Oriental characteristics. In just a few years, Chinese movies have been attacked and won successively, which makes Chinese movies surprise in the western mainstream film festivals and matches the rising image of China as a whole. Even though the imagination of Chinese history and reality is not without misreading elements, but at least concentrated on the artistic quality and creativity of Chinese movies. More importantly, the International Film Festival has enabled China’s most talented filmmakers, such as Jin Pao, Zhang Yimou and Chen Kaige, to gain considerable status in the international film industry and become a mainstay of the local film industry.
While Chinese films have achieved brilliant success in the International Film Festival awards, there have been doubts about their film style and cultural orientation. The most representative view is that China produces a large number of “folk films”, indulging in the ancient and backward imagination of China, creating a number of false folk customs, sold to the Western International Film Festival. Under the shell of human liberation and realistic criticism, it is actually the obedience to the Western-dominated cultural interest, which misleads the western world’s understanding of reality and contemporary China, and makes the Western audiences get a sense of imaginative satisfaction and superiority of cultural concern while watching such films.

Review of An elephant sitting still in MIFF

The film started on a gloomy morning, and gloomy was almost the dominant tone of the movie. In a small part of Hebei Province, though the scene of the railway station was Shijiazhuang, I thought Hu Bo wanted to express it in a small city around Shijiazhuang.

High school student Webb was reprimanded by his family, grandpa was rushed to the nursing home by his children, mixed up with a good friend’s woman to sleep, Huang Ling at home because of toilet hygiene problems with her mother.

Everyone dreams of escaping from their lives and going to Manchuria, where an elephant sits on the ground.

Starting with four interrelated sectional narratives, the shooting technique and its rudeness reminded me of last year’s documentary I filmed for my hometown town. I didn’t know the production team had checked it, but I felt like almost all the shooting was done with a single camera, probably without track, and all the shooting was done. Photographers shoot hand-held, some pictures are shaking, everyone’s face is not polished, and its rough shooting method.

Four people are related to each other because of their own troubles and troubles, as if they fell into a strange circle, the last four people choose the same road, to see the elephant in Manchuria, to see another place, maybe that place is better, Wang Jin knows that anywhere, will not be better, all the land Fang is the same.

None of the characters in the movie in these four hours were “good guys,” and everyone put the blame on someone else when things happened. The owner of the king’s golden dog was killed, Webb’s friend who stole the mobile phone, the ox who sold fake tickets, Huang Ling’s mother, the grandfather who played ball, Yu Cheng’s favorite woman and Yu Cheng’s parents.

The whole movie created an atmosphere of pessimism, indifference, selfishness and mourning. Director Hu Bo’s world and world outlook is a very complete unity of existence, pure pessimism is an endless despair. Everyone in his novels, every character in his movies, seems to be pacing back and forth in the same kind of desperation, unable to find an outlet, giving himself an outlet of fantasy, no matter how absurd, ridiculous, untouchable, unimportant. As long as there is such an export. His unification is also achieved in the audiovisual language of the film, where dialogue uses shallow depth-of-field lenses, back-swinging music and dark scenes make it impossible for viewers to stand aside, as if it were not just the frustrated and desperate characters who fled this lifeless town, but the struggling you in life.

Those who are powerless to resist despair are those who use malicious attacks to despair. The evil in human nature is magnified infinitely in a space that can only filter out despair, and we have to comfort ourselves, which is a way for those who are not brave enough to face the world. Those who can ignore life’s despair are happy. They always have chaotic fantasies about the world. They do not need hope.

MIFF surprised me

Film festival takes a growing part in film industry nationally and internationally, interlocking with many areas both culturally and industrially (Archibald, David, & Miller, 2011). Film festival has their own economies, social economic drivers, professional and political dynamics. MIFF is considered a famous film festival in Melbourne, showcases various movies to their members and the public.

As my first film festival experience, MIFF surprised me in many ways. Firstly, he early publicity campaign is in place, so that people could notice about this festival through various channels like billboards on the streets. Secondly, the ticket form is so nice, no matter you a member or not. I’m not a member so that I personally purchased a mini-pass which includes 13 movies, and I bought some extra ones that I really want to go to. In addition, I had trouble to go to the GIRL on Sunday so that I easily changed to another movie using the app with only 1$ fee. It’s just so thoughtful and convenient for customers to reschedule. MIFF scheduled as many as great movies after 6pm or on weekends, which is very adaptable for those who have to work on the day time. Also, the price for early movies on weekday is rather cheap than others. Furthermore, as a student, I can get a concession price for all the movies, even when the price of a single movie is already cheaper than a regular cinema movie.

My impression after all the films is fabulous as well, I chose many Asian movies and European movies because there will be English subtitles helping me to understand, it’s easier for non-native-English-speaker like me to understand. Although the Chinese animation BIG FISH & BEGONIA is unexpectedly dubbed in English. This gave me a new experience because I only watched foreign movies with Chinese dubbing before. Personally, I don’t really like dubbed version. I think there are many hidden information in original languages and the way actors speaks, so that it makes me think that whether they feel the same. Though I admit subtitles distract audiences’ attention in some extent, especially when the conversation goes fast, I might try too hard to follow the phrases instead of focus on the images. After all, I like this film festival so much, the choose of movies are so great, there are cultural diversity in it, and lots of LGBT related content in it, which opens my view and mind of the world a lot. This experience encourages me to participate more film festival in the future.

Besides the film itself, MIFF invited some filmmaker as guest to present an introduction before certain films. It made a great chance to meet the filmmaker face to face. Also, there are many comments of films written by MIFF employees, giving their side of view.

Archibald, David, and Mitchell Miller. “The Film Festivals Dossier: Introduction.” Screen, vol. 52, no. 2, 2011, pp. 249-252.