글로벌화 시대에 소수민족 주제에 관련된 문화 작품들이 더욱 관객들 의 공감을 일으키면서 서사 방식은 매우 중요해졌다. 본 연구는 픽사 애 니메이션 영화 <메이의 새빨간 비밀> 속 주인공 메이의 청춘 서사를 탐 구하고 심리적 욕구를 중심으로 주인공의 성장 과정을 분석하여 심리적 욕구의 변화가 중국계 캐나다 청소년인 메이의 정체성 발전에 어떤 영향 을 미치는지 연구하는 것을 목적으로 한다. 본 연구는 사례를 분석하기 위해 기본심리욕구이론(BPNT)을 연구방법으로 삼았다. 애니메이션 속 주 인공 메이는 청소년기에 동서양 문화를 배경으로 한 자율성, 관계성, 유 능성이라는 세 가지 기본 심리적 욕구를 형성하여 중국계 캐나다 청소년 고유의 통합적인 정체성을 갖게 된다. 이 애니메이션은 중국계 청소년의 정체성 발달에 대한 건전한 사고를 보여주어 많은 관객에게 공감을 샀었 다. 본 연구는 중국계 청소년 정체성 발달과 관련된 문화 작품을 분석하 여 관련 작품의 창작에 기여하고자 한다. 본 연구는 <메이의 새빨간 비 밀>이 서구 대중문화의 전통적인 동서양 문화 가치관 대립 모델을 깨고 소 수민족 문화에 대한 주류 문화의 고정관념을 없애는 데 노력했다고 본다.

본 연구의 목적은 공동체 미학이 애니메이션 캐릭터 창조에 어떻게 적 용되는지를 탐구하는 것으로, 중국 애니메이션 영화 <강자아>를 사례로 삼았다. 본 논문은 텍스트 연구 방법을 사용하여 <강자아> 내의 캐릭터 와 줄거리를 심층 분석함으로써 공동체 미학의 구체적인 적용을 탐구한 다. 이에는 공동체 미학의 기본 개념과 이론 틀 소개는 물론 <강자아> 내 주요 캐릭터의 감정 공명과 연결에 대한 심층 분석을 포함한다. 공동 체 미학이 문화 전달 분야에서의 중요성을 설명하고, <강자아>의 사례 분석을 통해 공동체 요소가 캐릭터 형성과 스토리 전개에 미치는 영향을 보여준다.연구 결과는 공동체 미학이 애니메이션 캐릭터 창조에 중요한 적용 가치를 가지며 <강자아>는 공동체 미학의 개념을 성공적으로 활용 했음을 보여준다. 이는 중국 애니메이션 영화의 창작을 풍부하게 하고 관객에게 깊은 감정 체험과 문화적 성찰을 제공한다. 그것은 중국 애니 메이션 영화의 발전에 유익한 시사점과 참고를 제공하며, 캐릭터의 감정 적 깊이와 복잡성을 통해 관객이 감정 공명을 느끼고 영화의 줄거리에서 공동체의 힘을 체감할 수 있도록 한다. 공동체 미학의 적용은 관객의 감 정적 체험과 문화적 이해를 깊게 하는 데 도움이 된다.

Learning Chinese through animation can be of great help to balanced language learning as you can access not only language but also culture. This study extracted and analyzed the vocabulary of the July 8th, 2016 Chinese animation [Big Fish & Begonia] as evaluated by HSK grade. Among the total number of vocabularies and expressions observed, the average proportion of the ‘basic HSK’ grade vocabulary is 53.95% and the average proportion of the ‘modified HSK’ grade vocabulary is 96.98%, which is very meaningful in learning. The composition ratio of HSK grade for each section was generally constant and the difficulty was constant. The animation [Big Fish & Begonia] contains various vocabulary for learning Chinese and is an educational content that embodies the cultural colors and characteristics of China well for children and adult learners in the early stages of learning Chinese. A very positive educational effect can be expected for the development of Chinese language skills, and the possibility of its use is also very high.

Animation industry is one of several sections of cultural industry, the major growth industry in china. This study is to analyze the characteristics of development of Chinese animation industry in two categories of governmental policy and economy. First, development of animation industry is characterized by the governmental policy. Chinese animation industry is currently experiencing a rapid developmentbased on the various policies and support. On the statement of ‘Plans for Promotion of Chinese Film & Animation Industry’ by State Administration of Radio, Film, and Television (SARFT) in 2004, governmental support on the section has begun. Starting in 2006, China’s 11th five-Year Plan for National Economic and Social Development (FYP) has enhanced the development of the animation industry. With governmental support, Chinese animation industry has been broadening its boundaries through development of new cultural contents. Second, in economic aspect, derivative products have been developed by the progress ofthe animation industry. Governmental support has brought an industrial conversion focused on Research & Development and Creation, and income increase has resulted in an increased spending on culture. Those changes have led to the development of derivative industries such as animated film, accessory, animated publication industries. Success of the animations has promoted development of the derivative products and enlarged the market size. As a higher value-added business with these huge economic impacts, Chinese animation industry will continue its growth.

The purpose of this research was to state the analyses of Chinese animation development with the world animation development. Chinese animation development history was classified under five period : the opening of a new animation period, the flourishing period, the retrogression period, the changing period, and the reconstruction period. The problems of Chinese animation industry, the animation policy, and the animation education were also analysed. 'Chinese Animation education' was especially described as the direction for the recent Chinese animation development.

With the continuous rise of China-Chic culture in recent years, a cultural atmosphere with Chinese characteristics has poured into people’s minds. The emergence of Chinese cartoon has also led to a new trend in China’s animation derivatives. Animation derivatives are an indispensable part of the cultural and creative industries. The creation of relevant brands of China’s animation derivatives can reshape the cohesion of the animation derivatives industry, but China’s animation derivatives brands lack fresh blood. This article will discuss how Chinese animation derivatives, under the influence of China-Chic culture, can be put into the brand design boom with national flavor.

As an important cultural industry, animation, with its unique affinity and communication power, is one of the important carriers of cultural communication. It can build up the national cultural image, reflect the comprehensive strength of the country, and contribute greatly to the achievement of national brands and the aggregation of national images. It is a great tool for international communication and exchange under the background of globalization. By studying the development status of contemporary Chinese animation, analyzing the contemporary artistic characteristics of Chinese animation, this paper puts forward the methods and principles of Chinese animation creation under the construction of national cultural image, that is use animation themes to highlight the connotation of Chinese culture, improve China's recognition through role shaping, innovate scripts to tell Chinese stories and use new means to promote Chinese animation. Finally realizes the transformation and innovative development of excellent traditional ideas and values in the modern cultural context, and improves the national cultural soft power and the international influence of Chinese culture.

In recent years, domestic animation films are committed to inheriting and carrying forward the traditional national culture. This article takes “Nezha”and “New Gods: Nezha Reborn”as an example to study the expression of traditional national culture from the perspective of cultural construction and audio-visual culture. It is concluded that the domestic animation focuses on the interpretation of the Chinese stories and the expression of the Chinese spirit, and uses the traditional elements to integrate the traditional culture with the modern context.

In recent years, China's animation market has been gradually prospered with the screening of many high-quality animation works. At the same time, a large number of high-quality national animation IP has also been born. From "Nezha" to "Legend of Deification" Chinese animation has triumphed both in box office and public praise. Sadly, compared with these achievements, the whole animation derivative industry looks depressed. In this paper, the current developing status of domestic and foreign animation derivatives industry is compared and analyzed, and the foreign successful experience of the development of animation derivatives industry and the problems existing in the operation mode of derivatives in China are summarized. Finally, put forward suggestions for the next development of China's animation derivatives industry.

In recent years, Chinese animation has been rising, and many well-made animation films have emerged. However, most of its companies fail to design based on user experience, resulting in poor sales and slow development of the animation derivatives industry. This paper mainly starts from the design methods of user experience, discusses the development status of animation derivatives based on user experience, explores the problems existing in China's current animation derivative industry, and finally studies the design strategy of animation derivatives experience through market analysis.

Opera animation is an animated expression of elements such as opera stage performances and styling in the creation. The animation fills the gaps in the form and communication of the opera. The opera promotes the development of the Chinese animation industry, opening up a new market field for the animation industry, providing a variety of themes and more innovative contents for the creation of cartoons. Traditional opera is the jewel of Chinese culture. Due to the introduction of technology, Chinese animation has a fault with Chinese traditional culture. How should we extract all kinds of beneficial elements from the traditional opera art and form a new art form of "opera animation"? This paper starts with the form of animation and discusses the influence of traditional opera on the development of Chinese animation, so that under the influence of traditional art, Chinese animation will set off a development path combining traditional art with Chinese characteristics and modern technology.

In recent years, China has produced many excellent animation films. In this paper, we will explore the animation films: Monkey King: Hero Is Back, Big Fish and Begonia and Da Hu Fa. By comparing and contrasting these films, we will be able to discover their similarities and differences. Specifically in the aspect of animation script creation, the director pursued a stylized film creation and make a bold adaptation to the original stories. Regarding the animated character creation, the main characters are highly personalized and humanized. There are also many breakthroughs in the audio-visual language of animation. Domestic animation is no longer for children but also a viable entertainment option for adults.

중국의 애니메이션산업은 21세기의 신흥 산업으로 발전되어 있다. 그렇지만 중국 내의 애니메이션 산업은 발전과정에서 또한 많은 문제점들이 존재한다. 지금 중국의 애니메이션의 부가상품 시장규모이 아주 커지고 있지만 대부분 외국의 상품브랜드이다. 중국은 해외기업들이 지불한 제작비를 통해 공장을 운영하여 이윤을 얻는다. 캐릭터상품의 결실로 중국의 애니메이션산업 사슬은 단절된 상황에 처해 있다. 지금 시장에서 유통하고 있는 캐릭터상품은 주로 일본과 미국산 제품이다. 예를 들면, 스누피, 미키 마우스, 헬로우키티, 피카츄, 도라에몽 등이 있다. 하자만 중국의 원작 캐릭터상품은 거의 찾아볼 수 없다. 사람들이 알고 있는 애니메이션 캐릭터와 관련 상품은 거의 외국에서 생산된 것 이다. 분문은 중국의 캐릭터상품의 시장 발전현황과 시장용량 및 발전공간을 알아보는는 과정을 통하여 중국에서 비교적 성공하고 영향력이 있는 애니메이션브랜드를 분석하고자 한다. 분석을 통하여 중국 애니메이션파생상품시장의 운영형식과 발전 과정에서 부딪히는 문제점을 발견한다. 이러 연구는 중국 캐릭터상품산업사슬을 재구축하는데 방향과 발전 전략을 제공한다.