Media in China” La Storia E I Modelli Di Produzione E Diffusione Dell’Animazione in Cina

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Media in China” La Storia E I Modelli Di Produzione E Diffusione Dell’Animazione in Cina “Media in China” La storia e i modelli di produzione e diffusione dell’animazione in Cina Tesi di Vincenzo De Masi Direttore di tesi Prof. Giuseppe Richeri Presentata alla Facoltà di scienze della comunicazione Università della Svizzera italiana per il titolo di Dottore in Scienze della comunicazione Mese anno 1 Riassunto Durante l'ultimo decennio la Cina ha vissuto un momento di grande espansione commerciale nei mercati internazionali. In questo contesto di costante crescita si inseriscono anche le industrie creative e in particolare il settore dell’animazione che ha subito una profonda evoluzione col passare degli anni. Il settore dell’animazione cinese riesce a produrre dei contenuti destinati sia al mercato interno sia estero su commessa dei grandi produttori giapponesi, americani ed europei. Oggi la Cina è diventata il primo produttore al mondo di animazione perché considera questo tipo di industria come uno dei suoi più importanti settori produttivi e perciò ha promosso delle azioni politiche volte a sostenere le scuole di formazione per gli addetti al settore e il mondo della produzione e distribuzione. Secondo molti studiosi il governo attua queste politiche per garantirsi non solo profitti economici ma anche culturali. Di fatto incentiva la formazione ideologica dei giovani al fine di rafforzare la propria identità nazionale (Qing 2006, Tan 2006, Lu Bin 2013). Il presente lavoro di ricerca parte dalle origini dell’industria dell’animazione cinese per arrivare alla situazione attuale che vede la sua importante presenza nei mercati esteri. L’obiettivo della tesi è quello di individuare le variabili principali e le contraddizioni che caratterizzano la situazione attuale dell’animazione cinese nonché i problemi relativi al mercato interno e internazionale e al rapporto tra i prodotti nazionali e prodotti di importazione. 2 Abstract During the last decade China has experienced a moment of great commercial expansion into international markets. In this context of constant growth there are also the creative industries and in particular the animation sector that has significantly evolved over the years. The Chinese animation industry is able to produce contents for both the domestic and abroad market for job orders coming from Japanese, American and European big companies. Today China has become the first producer of animation in the world because it considers this industry as one of its most important productive sectors and thus it has promoted policy actions supporting both training schools for employees of the sector and the world production and distribution. According to many scholars, the government implements these policies to secure not only economic but also cultural benefits. In fact it encourages the ideological education of young people in order to strengthen their national identity (Qing 2006, Tan 2006, Lu Bin 2013). This research starts from the beginning of the Chinese animation industry until the current situation which marks its major presence in foreign markets. The aim of this work is to identify the main variables and the contradictions that characterize the current state of the Chinese animation as well as the problems related to the domestic and international market and the relationship between domestic and imported products. 3 Ringraziamenti Vorrei ringraziare innanzitutto il Prof. Giuseppe Richeri che si è reso disponibile come relatore principale della mia tesi. Nei momenti di difficoltà, il Prof. Richeri mi è stato di notevole aiuto, sia con la sua competenza in materia che con la sua amicizia incoraggiandomi e guidandomi nel corso dei miei studi e delle mie ricerche. Vorrei anche ringraziare i ricercatori, i colleghi e i professori dell’Università di Zurigo, e in particolar modo la Prof.ssa Margrit Tröhler e la Dr.Veronika Rall che mi hanno seguito in tutte le fasi del mio percorso. Un ringraziamento particolare va anche a Elenora Benecchi, Chwen Chen Chen, Gialuigi Negro, Zhang Zhan, Gloria Dagnino e a tutti i ricercatori dell’Osservatorio dei Media in Cina e dell’IMeG, che mi hanno supportato e soprattutto sopportato in questo percorso di ricerca. Un altro mio grande debito è con il Prof. J. H. Lent e Ying Xu che mi hanno sempre fornito dei preziosi consigli e mi hanno messo in contatto con professionisti e professori di fama in Cina. La Prof.ssa Luo Qing e i suoi collaboratori mi hanno ben accolto alla Communication University of China di Pechino, dove ho potuto conoscere e collaborare con la Prof.ssa Jia Fou, e Yan Han e Zhang Bo. Devo ringraziare anche il Prof. Colin Sparks e il suo staff dell’ Università di Westmister Londra(China Media Center) per avermi offerto la possibilità di approfondire la mia ricerca presso la loro università dove sono stato in contatto con professionisti e colleghi di tutto il mondo. Un ringraziamento speciale va alla mia famiglia. Le parole non possono esprimere la mia riconoscenza verso i miei genitori, le mie sorelle Anna e Maria Lucia, Pietro, Gianluigi, Annachiara, Yutaka e Mutsuko. Il vostro costante sostegno mi è stato di grande aiuto. Infine vorrei esprimere stima e profonda gratitudine alla mia amata moglie Aiko, che ha mi ha sempre sostenuto e incoraggiato nei momenti più difficili. E ringrazio ovviamente mia figlia Minako, fonte di coraggio e di ispirazione per la mia vita. I miei limiti e la mia caparbietà hanno impedito a questi professori, amici e parenti di migliorare il mio lavoro. 4 Indice Introduzione .......................................................................................................................................... 10 Struttura della tesi ............................................................................................................................. 11 Metodologia ..................................................................................................................................... 12 Questioni metodologiche .................................................................................................................. 15 Premessa ............................................................................................................................................... 18 Cos’è l’animazione ........................................................................................................................... 18 L’animazione nel periodo del cinema muto ..................................................................................... 2 0 1 CAPITOLO - Storia dell’animazione cinese ................................................................................ 24 1.1 Struttura del capitolo .............................................................................................................. 24 1.2 Il Donghua (动画) e il Měishùpiàn (美术片) ......................................................................... 24 1.3 Prima della pellicola e dei pionieri del cinema di animazione in Cina ................................... 25 1.4 I fratelli Wan .......................................................................................................................... 27 1.5 Il cinema di animazione progressista (1931- 1936) ................................................................ 30 1.6 Animazione di propaganda (1937-1941) ................................................................................ 33 1.7 La principessa con il ventaglio di ferro .................................................................................. 35 1.8 I nuovi autori .......................................................................................................................... 38 1.9 Shanghai Animation Film Studio ........................................................................................... 40 1.10 L’età d’oro dell’animazione cinese ........................................................................................ 45 1.11 Campagna Anti-destra nell’animazione (1957-1964) ............................................................. 50 1.12 La rivoluzione culturale (1966 - 1976) ................................................................................... 53 2 CAPITOLO - Il post-rivoluzione e l’animazione moderna. ......................................................... 57 2.1 Struttura del capitolo .............................................................................................................. 57 2.2 Il ritorno dell’età dell’oro ....................................................................................................... 57 2.3 L’avvento della TV e la seconda età dell’oro ......................................................................... 6 2 2.4 L’era digitale .......................................................................................................................... 66 2.5 Le politiche del governo a sostegno dell’industria dell’animazione ...................................... 71 2.6 I nuovi regolamenti governativi e le produzioni in 3D ........................................................... 73 2.6.1 Nuovi tipi di produzione ..................................................................................................... 75 2.7 L’impegno governativo .......................................................................................................... 79 2.7.1 Produzione rappresentativa di questo periodo................................................................... 80 2.8 Nuove politiche a supporto del settore ..................................................................................
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