In the near future, China’s “2025 China’s Wide Television Listening Night”, directed by the National Radio and Television Administration, will be broadcast on television and online audio-visual platforms.The event featured the release of a two-part list of “Recommended Works 2025” and “Vision Works 2026” and the gathering of a large number of creators to share the craftsmanship behind the creation.
In the animated film and micro-short play modules, from the revitalization of the national IP to the deep-cultivated oriental aesthetics, to the grinding of the sense of life, the creators shared the thoughts and practices of the creative process and showed the potential for diversity in the creative expression and cultural heritage of the creation.
Shining National IP
It’s a beautiful mountain.
The vitality of classic IP is derived from the resonance of time. Inheritance is the only way to bring about the renewal of national memory and the intergenerational transmission of culture.
The New Big Head and Little Head Daddy — Showing China (Queue 1) — plotted Zhang Myung-shang’s “Big Head” doll to show up and share his original creativity, “The Big Head has been a brand for 30 years this year, leading children and young people to grow, and the times have changed, and the Big Head needs to change. We want to draw a thick family travel diary with the big family. Let the love of the books become a “living” China where children can see and touch with their own hands.” It is in such a way that the founding team is able to read and see the beauty of the country, the flourishing of the new era, and the childhood memory of the children.
In the live interaction, Big Head’s son shared the message: “I went to a lot of places with Mom and Dad, like we went to Xi’an to see a lot of soldiers, rows of great power, and Suzhou Bucket Park, Xinjiang Taruzan, Harbin Central Street, Farmer’s Forum, Yellow Crane House, etc. “Daddy Little Head,” says, “I think, “Read a million rolls, walk a million miles,” the best class is on the way, we take the kids to the world, and different landscapes inspire the curiosity of the children and allow them to study in the sport, not only as a parent-child conversation, but also as a valuable experience.”
The spirit of Eastern aesthetics.
Use Chinese imagination to tell the Chinese story.
From the heat of the first season of China’s Kitan, to the screening of the film The Little Monster of the Wave Mountain, and to the much-anticipated China’s Kitan 2, the “Chitan Universe” is gradually building an IP series with a distinct Chinese logo that demonstrates the continued vitality of Eastern aesthetics in contemporary animations.
In his sharing, Chen Liaoyu, Director-General of China ‘ s Kitan II, brought the “Chitan Cosmos” card to interact with the host, and drew on the poster “Chitan 2, China” when he elaborated the idea of design: “There is a small group of people, with a series of overlapping, large, ink-like shadows, and we understand that each and every one of us will grow up to find another person, and that there is an extraordinary world in the ordinary world, with infinite possibilities, and we summarize this subject as a phrase on the poster `to meet different oneself’.”
Chen Yoo-woo emphasized that creativity has always been “inflicted by our own traditional culture, and at the same time by the innovation of our modern thinking, to create our own work with Chinese imagination and the eastern meaning of beauty”.
I’m trying to get a sense of life.
♪ Let the short play carry the love ♪
The mini-short play is entering a new phase of more specialized and refined development, with its “short and delicate” form of power being shown between inches. ” Outside the Home ” became a representative work of it through a careful remission of life.
The director of The Home and Home, Yang Conan, shares the secret of “precision” with the actor Wang Tao Tong. In Yang Konan’s view, the finety of the micro-short play “is not the fineness of the form of pursuit, but the value of every minute, which attracts both viewers and conveys positive values”. He referred in particular to the creation of scenes filled with pyrotechnics: “We have a lot of scenes coming together in the neighborhoods, and at this point we will put in the yard the chairs made by bamboo, which is unique to the Kawazu region, and we will have a lot of people in the courtyard, picking up vegetables, drying up covers, eating melons, talking. The props said to me that the most expensive props in the show were the gourds.”
“We speak Kawasu’s dialect in the play, and I used to do it with the locals. I’m going to talk, listen to the succulent dialect, and on the other hand I’m going to study how to use the logic of Mandarin to make people understand the Sawa dialect, and I’m going to look at my father’s image, i.e., imitating the way he does the dishes while he eats, and I think my role is going to look at life to be more real.”
From the national IP, which has accompanied generations of growth, to the creation of a unique aesthetic system, the “Titan Space”, to the pyrotechnic short opera, which has a different path to the creation of fine works, the inner core of which remains the same, and which is to sharpen the content with the true heart of the craftsman, in an innovative way, to bring it closer to the time, and ultimately to resonate with the deepest emotional and cultural resonance of the audience.
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