Summit on the Beauty of Film — the Art and Technology of Animated Film Opens in the China National Film Museuof the 4th BJIFF

　　A total of 700 guests were present at the Summit, including Li Chunliang, Director of Beijing Municipal Bureau of Press, Publication, Radio, Film and Television and Vice Chairman of the Organizing Committee of the Festival, Ding Baizhi, Vice Director of Beijing Municipal Bureau of Press, Publication, Radio, Film and Television and Vice Secretary-General of the Organizing Committee of the Festival, Chen Jiangqi, Director of the Office of China National Committee for the Wellbeing of the Youth, Zhang Lixin, Deputy Chief of Chaoyang District, Kevin Geiger, Vice President & Head of Creative - Local Content, Greater China - The Walt Disney Company, Sunder Kimatrai, Senior Vice President (Asia Pacific) at 20th Century Fox, Chen Zhiqiang, Party Secretary of the China National Film Museum, and other leaders; renowned makers of animated films from China, USA, Britain and French, 300 teachers and students as well as animated film fans from Animation School of Beijing Film Academy, Communication University of China, Beihang University, Beijing Huijia Vocational College, and other schools, journalists from dozens of main media at home such as CCTV, BTV, China Film News, Beijing office of Xinhua News Agency, www.china.org.cn, Mtime, etc.

　　The Summit included two sessions: one in the morning and the other in the afternoon. Chen Zhiqiang, Kevin Geiger, and Ding Baizhi respectively gave a speech at the opening ceremony, and animation masters from home and abroad made keynote speeches. It was presided over by hostess Yao Miao from China Movie Report of CCTV-6 under State Administration of Press, Publication, Radio, Film and Television.

　　In his speech, Party Secretary Chen Zhiqiang briefly introduced the Summit on the Beauty of Film and the five major events organized by the China National Film Museum to support the theme of the Summit, namely, Theme Forum, Theme Exhibition, Theme Film Festival, Lecture by Celebrities, Membership Family Day. By ways of theoretical discussion, in-depth conversation, exhibition & presentation, screening of films, etc., these activities collect advice on the industry of China’s animated film, and bring the participating audience close to animated film masters at home and abroad. In his speech, Vice President Kevin Geiger, by taking Frozen, winner of the Academy Award for Best Animated Feature, as an example, indicated that a successful animated film boasts not only unique visual effects but also fantastic stories and creative ideas. The Summit, centering on the animated film, covers such topics as creation, technology and training of local animated filmmakers, which will provide more opportunities for the communication and cooperation on both Chinese and overseas animated films. Vice Director Ding Baizhi expressed in his speech that the Summit provides a platform for filmmakers from home and abroad to share experience and enhance cooperation. It will inspire the filmmakers, improve the ideological and artistic levels of film creation, and guide the audience to pay more attention to and learn more about the animated films, which will bring more creative ideas for animated films and broaden the outlook on the development of globalization of the Chinese animated film.

　　Famed animation masters from home and abroad delivered keynote speeches respectively, including producer Peter Del Vecho and visual effects specialist Dale Mayeda of Frozen, winner of many awards including the 86th Academy Award for Best Animated Feature and presented by the Walt Disney Company, Carlos Saldanha, director of classical Ice Age series and Rio series presented by 20th Century Fox of the USA, Rob Minkoff, American animation master and director Mr. Peabody & Sherman, Sun Lijun, leading figure in the Chinese animation industry, Vice President of the Beijing Film Academy and President of the Beijing Film Academy Institute of the Art of Animation, Peter Lord, British animation master and director of The Pirates! Band of Misfits and Chicken Run, David Pechoux, general project manager of Dargaud China, etc.

　　When talking about the creation of Frozen in his keynote speech, Peter Del Vecho indicated that, to present the audience with the feeling of a real world in the film, the film creation team had made lots of efforts for technical innovation and the animation masters had produced lifelike effects by walking in the real snow-capped place. In his opinion, special effects, arrangement of characters of the story and music are three important factors in the overall creation of a film.

　　In his speech, Dale?Mayeda indicated that the special effects team of Frozen had conducted many surveys, taken lots of photos and filmed the snowscape, such as movement and collapse of a snowball, people walking through the deep snow or in windstorm, etc. Meanwhile, with the help of many professional researchers, they grasped the technology of how to simulate a frozen world and even did a lot of tests to integrate the characters and the scenes so as to improve the credibility of the film.

　　In his keynote speech, Carlos Saldanha stressed seeking fun in the process of creation and in the environment. Rio tells a love story in the future journey, and the script throughout the whole process needs to be changed which is interesting and innovative. Moreover, the adoption of Brazilian music shows the passion, belief and happiness, which helps build a Rio world catering to audience at different ages.

　　According to Rob Minkoff, we are defined by the story, and that we develop stories for our future generation is like masters painting on stones originally. To some degree, they are the pioneer of animation and they pursue goals in telling a story. With the development of science and technology, animated film also develops. However, the creators’ needs remain unchanged.

　　Sun Lijun shared his opinions concerning the present and future of the animated film in his speech. He pointed out in a metaphorical manner that our millet plus rifles cannot compete with American aircraft and cannon. When we have a good creative idea, we cannot ensure there will be stable investment to promote it in the market. Secondly, when we talk about technology, we cannot ignore the very tradition of animated film creation, that is, hand-made painting. When talking about the future development and trend of animated film, he predicted that digital interactive film will become the mainstream in the future and there will be a close and inseparable relationship between art and technology of animated film. Technology is the basis of art, which in turn indicates the improvement of technology.

　　According to Peter Lord, he drew inspirations from the classical movie King Kong and produced amazing effects through illusion. Public animation is a kind of simulation of the real life. He also stressed the importance of communication in creation of animated films. The creation of public animation is a slow process, which resembles the irreversible blood flow. He showed the image of the pirates’ captain and the adoption of various designs to the same role. At last he expressed that the puppet show-style animation still presents great vitality today.

　　David Pechoux introduced the relationship between comic strip and animated film, and stressed that a unified relationship should be established between the two. He pointed out that we should integrate the originality of cartoon into the animated film. Meanwhile, he pointed out that cartoons were adapted into animated film in the past, and now we have potential market making it possible to adapt animated film into cartoons.

　　The session in the afternoon was presided over by Suo Yabin, associate professor from School of Cinema and Television, Communication University of China. Many makers of animated film from home and abroad held discussions on four topics: Comparison between Content of Animated Film in China and Foreign Countries, Technological Innovation and Expression of Animated Film, Industrial Consolidation and Brand Operation of Animated Film, and Talent Cultivation for and Demand from Animated Film.

　　In the discussion of the first topic, Zhou Tiedong, General Manager of Beijing New Film Association Co., Ltd., Zhou Liming, senior columnist of China Daily and cultural critic, Song Lei, researcher of Development and Research Center of State Administration of Press, Publication, Radio, Film and Television, Pi San, chief director of Crash and Miss Puff and founder of Beijing Hutoon Animation Ltd., Company, made comparison between content of animated films in China and foreign countries.

　　Zhou Tiedong pointed out that in terms of the genre of films the animated films have been experiencing growth spurt since 2013. With regard to content and technology, the animated films made in China need to cross cultural borders; against the background that the global animated film industry develops by leaps and bounds, we enjoy advantages in content, finance and even talent. When talking about how to break the bottleneck which hampers Chinese animated films going global, Raymond Zhou indicated China obviously lags behind the developed countries, and mainly in terms of technology and other aspects. We have every reason to attach importance to the art content. Proceeding from the genre, audience, reputation and box office, Song Lei noted that the heroic blood-shed genre accounts for the majority; as for quality of domestically-produced animated films, the audience’s comments are not as favorable as before according to Mtime and Douban from 2012 to 2013. With regard to adaptation of the popular animated plays aired on Internet into animated films, Pi San shared his view, indicating that animated films require considerable input and generate high returns, but frankly said he doesn’t feel confidence in the domestically-made films.

　　In the discussion of the second topic, Visual Effects Specialist for Frozen Dale Mayeda, Shen Yueping, General Manager of Start Q Hangzhou Xuanji, Director of The Legend of Qin, Leo Huang, General Director of MSC Co., Ltd. who has created and directed 600-episode TV animated series Pleasant Goat and Big Bad Wolf and thus been famed as the “Father of the Pleasant Goat”, Rob Minkoff, American animated film master and Director of Mr. Peabody & Sherman, and Peter Del Vecho, Producer of Frozen, exchanged their views centering on the technological innovation of animated films and its adoption in filming.

　　Peter Del Vecho said that the story drives technological progress, and on the other way round, technology helps resolve difficulties in story presentation. We must combine technological innovation and artistic expression. For people engaged in Chinese animated film industry, we need to emphasize flexibility, but should not be constrained by existing creations. Del Vecho emphasized that the story presentation is important and the CG and 3D technologies can make it better. Through technological innovation, we can bring about a lot of creations never imagined before. For example, James Cameron brought his creative ideas for Avatar into form after the technological difficulties were removed. Shen Yueping doesn’t think that China lacks in innovation, rather, he thinks that what impedes the Chinese animated film development is the lack in technological innovation. When the technology doesn’t perform up to par, it is bound to affect the presentation of the story. For China, technology is especially important. Rob Minkoff expressed his amazement at today’s rapid advance of technology; when directing the Lion King, all he relied on was paper and pen. He thinks that most of the technological innovation is driven by a certain film. Whether the computer, the video camera or painting instrument, they all appear dull, not able to satisfy your demand, so you must innovate. Leo Huang thinks story is more important than technology; as the former holds the key to the success of the animated films, the mode of story presentation is especially important. The stories of China and abroad, the past and the present have been basically put on the screen, so it is the details of the story telling process that determine whether the film will be a success or otherwise.

　　In the discussion of the third topic, Shuai Min, Vice President of Guangdong Alpha Animation and Culture Co., Ltd., Zheng Hu, Vice Director of Shanghai Animation Film Studio, Wu Hanqing, CEO of Vasoon Animation Co., Ltd., and David Pechoux, general project manager of Dargaud China, exchanged views on the development of animated film industry.

　　According to Shuai Min, in terms of content, the animated film can develop through internet and intelligent television. Once the TV animation gains benefits from the copyright, relevant toys will gain great benefits, too. In Zheng Hu’s opinion, the film today is a kind of combination between art and technology. The Chinese animated film started early, has strengths in types, and enjoys technical support of lots of works. For example, Mr. Black marks re-start of art and re-development of technology, and is a kind of new identification in terms of value of appreciation and artistry. The goal for retrospection of the animated film is to inherit traditions of the Chinese nation. According to Wu Hanqing, to produce an animated film in China, one shall have an optimistic expectation and uphold it so that he/she can benefit from it. The international capital operation would finally evolve into a point as the cultural industrialization would develop from a long line to a long chain. If being well-prepared in the preliminary stage, the marketing opportunities would be shown at the time. According to David Pechoux, the promotion of animated film in the past included participation in activities and expansion of channels, and includes development of games, toys and other products now. We cannot grasp only one aspect in the promotion of animated film. Instead, many aspects are interconnected.

　　In the discussion of the fourth topic, Sun Li, assistant to President of the Beijing Film Academy and associate professor of the Animation School, Yu Shengjun, founder of Beijing Ironhide Frog Creativity Media Co., Ltd. and director of Roco Kingdom series, Zhang Gedong, Vice Dean of School of Animation and Digital Arts of Department of Fine Arts, Communication University of China, and Kevin Geiger, Vice President & Head of Creative - Local Content, Greater China - The Walt Disney Company, exchanged views concerning the talent cultivation for the animated film.

　　Sun Li shared some teaching ideas and school-running concepts of Beijing Film Academy. Now they have had their faculty including teachers of animated film screenwriting and directing, thus the Animation School has become a relatively complete system on the whole. During the discussion, Yu Shengjun expressed his thanks to his idol, director of The Lion King Rob Minkoff who inspired him to be engaged in the animated film industry. Yu said that the young people should have their own dreams and make efforts to pursue them, and proposed that the college should provide students with courage and power to pursue their dreams. Kevin Geiger held that teachers should arouse students’ passion and curiosity either in schools or in enterprises. After the students are admitted to the college, teachers should arouse and maintain such passion and curiosity. According to Zhang Gedong, technology is an important factor for both animation and film, and each adoption of the technology has exerted a great influence on the development of the film. He stressed that makers of animated film should keep abreast of the times. He said that they have cooperated with foreign colleges to cultivate talents and courage students to produce more experimental works.

　　The Summit has been affirmed and won acclaim from the guests. According to Song Lei, people now hold more discussions about the animated film from the industrial perspective than from perspectives of content, art and technology. It will not work to produce high-quality animated film only by relying on the industrial summit. He hoped that such summit could be held regularly so that people involved in the industry can discuss the animated film and benefit from the exchanging of views. Zhang Gedong pointed out that the Summit plays an important role in cultivation of talents for animated film. With a distinctive and practical theme as well as potentials for future discussion, it provides a rare opportunity to grasp the first-hand information and to hold discussions with counterparts, from which he has benefited a lot. Zheng Hu expressed that the value and overall style of the Summit on animated film are worth our in-depth thinking. The core for the progress of the animated film industry is innovation, which cannot be separated from the artistic and technological innovation.

　　On the morning of April 23, the Lecture by Celebrities, another important part of the Summit, will be held in the Central Circular Hall of the China National Film Museum. Kevin Geiger, Vice President & Head of Creative - Local Content, Greater China - The Walt Disney Company, and Peter Lord, British master of animation, will share their experience on creation, watch and discuss classical animated films in China and foreign countries together with the animated film fans.

　　The Summit on the Beauty of Film is committed to, from the perspective of “film aesthetics”, analyzing the aesthetic behavior, psychology, consciousness and features contained in film art and technologies, conducting an in-depth study and thorough discussions of the aesthetic effects and proven rules for the power of films to move and inspire the audience, to provide them with an uplifting emotional experience, and making explorations on the rule of production, aesthetic values and quality, and social functions of film art.

　　Designed on the basis of the production process of the film industry, and centering around different professions, the Summit on the Beauty of Film has placed the great filmmakers under the spotlight to share their concepts and techniques for creation, success stories and prediction of the film development trend. The Summit, formerly called the Youth Film Festival of China National Film Museum, and held annually by the museum since 2007, intends to build a bridge between the film industry and its audience. By way of the Film Summit, it will extend the influence of Chinese filmmakers’ works and arouse people’s love for Chinese films. The summit has been successfully held for seven times, respectively on film directors, scenarists, special effects, distributors, film music, film arts, makeup and modeling, making it an influential cinematic culture brand in the society.

　　Since 2013, the Summit has been renamed and been part of the Beijing International Film Festival. In 2014, with the support and under the guidance of the BJIFF Organizing Committee, it was made one of the major forum activities of the Festival. The Summit this year focuses on the Art and Technology of Animated Film, with five major events, namely, Theme Forum, Theme Exhibition, Theme Film Festival, Lecture by Celebrities, Membership Family Day. Through multiple ways, it will, by various ways, collect the latest opinions of the industry, focus on hot topics of mass media, and conduct in-depth discussions on the new explorations and pursuits of the development of modern animated film from authoritative and new perspectives so as to make contributions to building the capital into a cultural center and promoting the prosperity of Chinese film.