民族性一直是早期中国动画短片的显著特点,无论是《山水情》、《鹿铃》,还是《小蝌蚪找妈妈》、《牧笛》,其题材、表现形式、音乐音效都具有鲜明的中国文化特色。因此,当我们谈及早期中国动画的发展状况时,民族性、时代性都是不可回避的问题。如今,随着新媒体的出现,动画短片因其创作制作自由、故事创意多样、篇幅短小、传播渠道多元、收视随时(即时)等,抛下原本实验性、先锋性的外壳,艺术表现越来越接地气,话语越来越平民化,成为一种常见的动画形式。 Nationalism has always been a prominent feature of early Chinese animated short films. Whether it is “landscapes,” “deer bells,” or “little tadpoles looking for mums,” or “pastoral flute,” its themes, forms of expression, and musical sound have distinctive Chinese culture Features. Therefore, when we talk about the development of early Chinese animation, the nationality and the times are all unavoidable issues. Nowadays, with the advent of new media, the animated short films are more and more creative due to their creative writing style, diversified stories, short space, diversified channels of communication and immediate viewing (immediate), leaving the original experimental and avant-garde shell The more popular, the words become more common people, as a common form of animation.