The development of puppet films

"Song of Everlasting Sorrow"

The puppet documentary "Song of Everlasting Sorrow" was written and directed by Yu Zheguang, controlled by You Lei and Xia Bingjun, and was completed in 1948 by Shanghai Universe Film Company. The film is based on the puppet show "Song of Everlasting Sorrow" and depicts the story of the joys and sorrows of Tang Ming Emperor and Yang Guifei. It is divided into five acts. Each act is named after a line of poetry in Bai Juyi's "Song of Everlasting Sorrow": Act One: From now on, the king will not go to court early; Act Two: On July 7th, the Palace of Eternal Life; Act Three: Yuyang Yang incited the Earth to come; Act Four: Wan Zhuan E Mei died in front of the horse; Act Five: The sun and moon grow in the Penglai Palace. This play was selected by overseas Chinese businessmen Weng Qingxing and Huang Jiaen in the United States, and was filmed into a three-volume color documentary by the company they founded, Universe Pictures. It was compiled into the large-scale documentary "Chinese Grand View", with English and French dialogues, and was distributed to the United States. Screened abroad. During the filming of the film, the film was directed by film artist Tian Han. The film is based on Kunqu opera singing, with antique characters, costumes, and magnificent scenery, giving people a beautiful enjoyment. In July 1953, with the approval of the Cultural Film Bureau, the art film team of Shanghai Film Studio was officially expanded into a cartoon team and a puppet film team. By 1956, 11 puppet films had been produced. From 1957 to 1965, American Film Corporation produced 40 puppet films.

1. "Little Heroes"

"Little Heroes" director Jin Xi, technical director Wan Chaochen, puppet designer Yu Zheguang, cinematographers Zhang Chaoqun and Zhao Kejun, 1953 October Filming by the Yueshang Film art team was completed. The film is adapted from the fairy tale novel "Red Cherry". It depicts the story of little Amang relying on the strength of the collective to outsmart the evil wolf and restore the peaceful and happy life of the small animals in the mountains. This is China's first color puppet film produced by Shanghai Film Art Film Group. In August 1951, Shanghai Film Group decided to set up a color film experimental group consisting of Wan Chaochen, Wan Guoqiang, Charigen, Wu Weiyun, Zhu Jinming, etc., with Li Jingwen, a Chinese from Su, as the guide and Su Li as the general contact person, to conduct filming. Experiments with color art films. On December 3, 1951, Wan Guoqiang successfully developed the color developer "Dai Kemin". On December 4, the Cultural Film Bureau fully recognized the test results. So Shanghai Film Studio decided to officially shoot the color puppet film "Little Heroes" at the end of January 1952. After more than a year of hard work, the film was successfully filmed in October 1953. The Cultural Film Bureau awarded silk banners to the art team of Shanghai Film Studio, and awarded honorary certificates and badges to those who participated in the trial shooting.

2. "Magic Brush"

"Magic Brush" was written by Hong Xuntao, directed by Jin Xi and You Lei, with outstanding photography, and puppet designer Yu Zheguang. Released in November 1955 Filming by the art team of the film was completed. The story of the film always revolves around the extraordinary fate of Ma Liang and Shenbi. Ma Liang, a cowherd boy, wanted to learn painting, so he used branches and charcoal to paint all day long. One night he dreamed that an immortal gave him a magic brush, and he could get whatever he drew. The villagers were very grateful to him when they got the real objects such as cattle and waterwheels that he drew with the magic brush. This matter was learned by the government, and the official sent someone to force Ma Liang to draw a golden mountain. Ma Liang drew the ocean and the sailboat around Jinshan. The greedy official took his family on the boat. Ma Liang waved his magic pen and set off strong winds and waves, and the sailboat soon sank. From then on, Ma Liang freely painted what the working people needed. The film has a strong legendary flavor. The directors used romantic techniques to create the artistic image of the innocent and lovely Ma Liang. In August 1956, the film won the first prize for the entertainment film for children aged 8 to 12 at the 8th Venice International Children's Film Festival in Italy. It won four consecutive awards in Syria, Yugoslavia in 1956 and Poland and Canada in 1957. The Ministry of Culture won the first prize for outstanding artistic films from 1949 to 1955.

3. "Flaming Mountain"

"Flaming Mountain" screenwriters Wu Lun and Liang Yanjing, directors Jin Xi and You Lei, puppet designers Jin Xi and Dou Zonggan, cinematographer Zhang Chaoqun, Zhong Liren, Technical director Wan Chaochen completed the filming in June 1958. The film is adapted from chapters 59 to 61 of the Chinese classic novel "Journey to the West". It depicts the story of Tang Monk and his four disciples who went to the West to learn Buddhist scriptures, but were blocked by the Flame Mountain. After many twists and turns, Sun Wukong finally borrowed a banana fan from Princess Iron Fan to put out the fire.

The film is vividly styled, and the Monkey King, Princess Iron Fan, Bull Demon King, and Zhu Bajie are designed and made lifelike, and are well received by the audience. The film's stunts involving fire are quite successful.

4. "Lobster"

"Lobster" was directed by Jin Xi, photographed by Zhong Liren, and styled by Dou Zonggan and Wang Changcheng. The filming was completed in December 1959 by Meiying. The film describes a restaurant in a Western country that fabricated an advertisement for a peace movement organization to use its venue to hold a meeting because of the smell of lobsters. This attracted a large number of spies and spies. They suspected each other, monitored each other, and started fighting. Although sales increased greatly, the restaurant still had a lot of trouble. Things got smashed. This is a political satire.

5. "Pigeon"

"Pigeon" is a collective adaptation, directed and photographed by Chen Zhenghong, and character and background designers Qu Jianfang and Dou Zonggan. The filming was completed in June 1960. By describing imperialism's opposition to the painting of peace doves, the film exposes the criminal conspiracy of imperialism to fake peace and prepare for war. The film is like a moving political caricature, vivid, humorous and interesting.

6. "The Legend of the Carving of the Dragon"

The collective screenwriters of "The Story of the Carving of the Dragon" are directed by Zhang Chaoqun, Yue Lu, and Wan Chaochen. Cinematography is by Zhang Chaoqun. Style designers are Zhan Tongxuan and Hu Ruosi. In September 1959, the US Film shooting was completed. The film is adapted from Yunnan folk traditions compiled by Ou Xiaomu. It describes that there is a sow dragon hidden in the Black Dragon Pond in Diancang Mountain, Dali, Yunnan, which harms people and animals. Qijin, the son of Carpenter Yang, was pulled down by the sow dragon when he was drinking water from the pond. Determined to eliminate harm to the people, Carpenter Yang carved a wooden dragon and threw it into the pond, but was crushed by the demonic dragon. Carpenter Yang was not discouraged. With everyone's support, he carved another wooden dragon with iron scales and claws. Finally, he defeated the sow dragon and rescued Qi Jin. The film is rich in imagination, with twists and turns in the plot and vivid characters. In September 1960, the film won the second silver medal at the Second Bucharest International Puppet Film Festival in Romania.

7. "The Girl Who Cuttered Firewood"

"The Girl Who Cuttered Firewood" was written and directed by the creative collective based on folklore, with photography by Chen Zengfu and Zheng Peiliang, and styling design by Zhan Tongxuan. It was completed in December 1959 by Meitu. . The film tells the story of a firewood-cutting girl Qing'er and her grandfather living in a mountain valley. One day, her grandfather was ill, and Qing'er went up the mountain to cut firewood alone. On her way home, she happened to meet an old wolf spirit carrying a magic gourd and riding a calf. She hurriedly ran away, but unexpectedly happened to hide in the old wolf spirit's house. The calf saw that it was not good, so he deliberately broke the rope and ran out to lure the old wolf spirit away. Afterwards, the old wolf spirit was drunk and slept in the pot. Xiao Niu and Qing'er cooperated and burned the old wolf spirit to death in the pot. The calf ate the beads from the demon gourd and quickly transformed into a little man. The two of them went home happily. The plot of the film has interesting twists and turns, and the characters are vivid. The film won the Honorary Award at the 12th Karlovy Vary International Film Festival in the Czech Republic in July 1960.

8. "A Shoe"

"A Shoe" is written by Jin Xi, cinematographer Zhong Liren, style designer Dou Zonggan, and background designer Wang Changcheng. The film is adapted from the Sichuan opera of the same name, both of which It is based on "Mao Dafu" in Volume 16 of "Strange Stories from a Chinese Studio" written by Pu Songling. In the adaptation, the author changed the wolf in the original work to a tiger. The film "A Shoe" tells the story of a doctor couple who were hired by a tiger to deliver a baby and treat an injured foot. However, her husband Mao Dafu was implicated in a life-threatening lawsuit. As a result, the tiger took one of the murderer's shoes and testified in court. Only then was he acquitted. After the film was released, because some viewers did not understand the method of anthropomorphic creation, they had doubts about the handling of the tiger in "One Shoe" and raised different opinions. Some newspapers and periodicals published articles to discuss it. On June 21, 1961, Chao Wen published "The Tiger is a "Human" - Talking about the Puppet Film "One Shoe" in "People's Daily" and believed that "the tiger in "One Shoe" has its main characteristics. It is a human being, not an animal. It is not an object of study in natural science, but an object reflected in art.” Through this discussion, it played a role in popularizing the creation method of anthropomorphism in fine art films. It tells people: The principle of "literature is humanities" also applies to fine art films. Most of the characters in art films are gods and monsters, lions and tigers, chickens, dogs, cats and rabbits, as well as trees, flowers and plants, bottles and cans, etc. All of these are "people" in art films and have human thoughts and personalities. They are all It is the incarnation of a human being. This is the creation method of anthropomorphism.

9. "Medal" (three-dimensional film)

"Medal" was written by Hong Xuntao, directed and cinematographer Zhang Chaoqun, and styled and set designed by Qu Jianfang and Huang Sufei, 1960 In September 2016, the filming was completed. This is a fairy-themed film that depicts the story of a donkey, a panda and a piglet participating in a sports meeting. It criticizes the arrogant and failed donkey and praises the modest but successful little bear and cat. It is China's first color three-dimensional puppet film. All shots are shot frame by frame with two cameras at the same time, and the scenery also has a special sense of depth and three-dimensionality. The film "Medal" not only has the immersive characteristics of a three-dimensional film, but also has the humorous and relaxed style of a puppet film.

10. "Red Cloud Cliff"

"Red Cloud Cliff" was directed by Chen Zhenghong and photographed by Cai Changcheng. The filming was completed in May 1962. The film is adapted from Liang Shangquan's long poem of the same name. It describes that during the Second Civil Revolutionary War, the old stonemason Luo Laosong sacrificed his life in order to carve slogans such as "Redize the whole Sichuan" and "Reduce the whole country" on the cliff rocks. His blood turned into red clouds, lingering on the cliff with slogans in memory of the Red Army. The film uses exaggerated movements of puppets, and the character creation is relatively successful. In particular, Luo Laosong's honest, simple, hard-working, brave and determined image left a deep impression on the audience.

11. "Peacock Princess"

"Peacock Princess" screenwriters Jin Xi and Jun Kouyang, director Jin Xi, background designers Jun Kou Lingchen and Wang Changcheng, puppet designers Cheng Shifa, Zhan Tongxuan, Lu Heng et al. Photography by Zhong Liren. Filming was completed in 1963. The film is adapted from the Dai nationality's long narrative poem "Zhaoshutun". It tells the story of a prince, Zhaoshutun, who fell in love with the beautiful peacock princess. He was jealous of the treacherous ministers. The prince went on an expedition and the princess was forced to run away. After the prince's triumphant return, he finally reunited after traveling through thousands of mountains and rivers. Through the joys and sorrows of the prince and princess, the patriotism of the protagonist is shown. This is China's first large-scale puppet film, with a total length of 80 minutes and a total length of 2130 meters. The film has a tortuous plot and many characters. There are scenes of a peacock dancing solo, a group of people dancing together, and many war scenes. It not only has complex movements and different postures, but also can make a variety of expressions, showing the superb skills of Chinese puppets. A representative work among puppet films.

12. "Long Hair Girl"

"Long Hair Girl" was written by Yan Li, directed by Yue Lu, and photographed by Cai Changcheng. The filming of "Long Hair Girl" was completed in August 1963. The film is adapted from Dong folklore compiled by Xiao Ganniu. It tells the story of a young Dong girl, Changfamei, who fought unyieldingly against a mountain demon to relieve the villagers from drought, and attracted spring water. The film educates people to establish the noble quality of sacrificing themselves for others. In order to make the film well, the main creative staff went to the Dong area to go deep into life and mastered a lot of information.

13. "Cockcrow at Midnight"

"Crowing at Midnight" was originally written by Gao Yubao, adapted by Zhang Songlin, Yu Hejing, directed by You Lei, cinematographer Zhong Liren, puppet designer Xie Hongbin, 1964 In December, the filming of Meiying was completed. The film depicts the story of landowner Zhou Papi who exploits and bullies long-term workers and asks for trouble. The storyline of the film is vivid and interesting. The lifelike modeling of Xiao Changgong Xiaobao and the skin peeling around the grave were appreciated by the audience. The film was screened at the Cannes International Film Festival in France on May 17, 1965. Agence France-Presse commented on the film and pointed out: "People's China has put puppets, one of China's rich folk arts, on the screen. The audience in the Cannes film industry greatly appreciated it. and expressed welcome."

14. "Portrait"

"Portrait" was adapted and directed by Jin Xi, photographed by Zhu Dingyuan, and puppet designed by Zhan Tongxuan. It was filmed by Meiying in May 1965. The film is adapted from the cross talk of the same name by cross talk artist Ma Ji. It uses the process of the painter going deep into the countryside to experience life, and praises the noble qualities of labor model Zhang Baotian who is devoted to the public and puts others before himself. The protagonist of the film, a model worker, is vivid in appearance, honest and respectable. The "Cultural Revolution" severely damaged Shanghai's puppet film production, with only 5 films created and produced in 10 years.

1. "Little Eight Road"

"Little Eight Road" was written by Zhang Songlin, executive directed by You Lei, and photographed by Huang Yi. It was filmed by Meiying in 1973.

The film describes the story of Hu Zi, the head of the Children's League, who was trained and educated by the Communist Party of China during the Anti-Japanese War and became a resourceful and brave "Little Eight Road". This is a film shot during the "Cultural Revolution". Although it was influenced by class struggle and line struggle, the shape and movement of the puppets, lens processing and art design are all successful. The characters such as Hu Zi and Captain Yang in the film are also successful. More vivid.

2. "The Flying Horse"

"The Flying Horse" is collectively adapted from Gong Keyi's novel of the same name, written by Gu Hanchang, directed by Jin Xi and Liu Huiyi, and photographed by Zhu Dingyuan and Huang Yi, 1975 The photo shoot was completed in February of this year. The film describes the Inner Mongolia Animal Husbandry Brigade selecting a group of military horses for the People's Liberation Army. The captain wants to hand over the task to Li Mantang, a counterrevolutionary with a hidden history. Yu Hong, an educated youth who went to the countryside, and others took the initiative to take on the task of training the horses. Under the leadership of the Party branch of Zhong** Village, Yu Hong saw through Li Mantang's conspiracy and led the horse herding class to complete the task of training horses. The film is governed by the erroneous theory of "class struggle as the key link" and closely focuses on the typical event of "training military horses" to reflect the political struggle between two classes and two lines, turning the "puppet flavor" of puppet films into It has become the "smell of gunpowder" of class struggle. However, the characters in the film are more vivid, with horses and horses in different postures. Especially for the large grassland scenes, the filming method of real exterior scenes and puppet directional screen synthesis is used, which plays a better supporting role in highlighting the characters. From 1977 to 1995, Shanghai Meiying Factory continued its 18 years of development. During these 18 years, 79 puppet films and 201 volumes were produced, including 5 series of puppet films and 89 volumes, accounting for 44% of the total length of puppet films.

1. "Watermelon Cannon"

"Watermelon Cannon" is adapted from Liu Zhengtai's folk tale of the same name. It is written by Ling Shu, directed by Jin Xi, photographed by Zhu Dingyuan, and character designed by Qu Jianfang. The filming was completed in September 1979. The film depicts the story of the child soldiers of the "Little Sword Society" in the late Qing Dynasty who used selling watermelons to fight against the enemy. The characters in the film have a strong national style. Based on traditional culture such as unearthed figurines, folk toys and Peking opera masks, the film's creators used deformation techniques to exaggerate the proportions of the head and eyes, making the characters simple, strong, childish and full of " It has the "puppet" flavor, and has the artistic effect of being a puppet rather than imitating a real person and "really like the real person".

2. "Afanti"

"Afanti" is based on a bunch of humorous stories about the Xinjiang Uyghur folk legend Afanti, adapted by Ling Shu and directed by Jin Xi , Liu Huiyi, art designers Qu Jianfang, Sun Daheng, photographer Zhu Dingyuan, the filming was completed in 1979 by Meiying. The film depicts that Bayi, who exploited the people, wanted to make a fortune through "gold cultivation", but in the end, his thousand taels of gold were returned to the people through Afanti's wisdom. The creators of the film used a rough, comic-like technique with big lines and a blocky feel to design the character shapes, backgrounds, and actions, making the film's theme prominent, the characters distinctive, and full of fun and humor. Especially the lifelike image of Afanti is deeply loved by the audience. In 1980, the film won the Ministry of Culture's Outstanding Film Award and the Best Art Film Award at the third "Popular Film" and "Hundred Flowers Awards".

3. "A Fool Buys Shoes" and "Laoshan Taoist Priest"

"A Fool Buys Shoes" was written by Fang Runnan, directed by Fang Runnan, photographed by Huang Yi, and Zhao Zhihui in the background. It was filmed by Meiying in 1979. The film depicts a fool buying shoes regardless of the size of his feet, superstitiously following books, and made a lot of jokes.

"Laoshan Taoist" was written by Yu Zheguang and Ling Shu, directed by Yu Zheguang, and photographed by Huang Yi. It was completed in 1981 by American Film. Through the story of a scholar who learned from a Taoist priest from Mount Laoshan, the film tells people that true talent and learning can only be obtained through hard work. If you want to gain something for nothing, you will only end in failure.

These two films tried to use Chinese landscape paintings as backgrounds, creating a precedent for the organic combination of three-dimensional puppets and flat mountains and water, and achieved good results. In the background of "Laoshan Taoist", there are undulating mountains, clouds and mist. The winding, lush forests and trees, the virtual and the real, are very fully expressed, which plays a very good foil role in expressing this ancient theme. In the background of "The Fool Buys Shoes", when using the form of Chinese painting, the main thing is not to take its shape, but to take its meaning, and learn from the form of leaving a white background in Chinese painting to achieve the artistic effect of highlighting the characters.

4. "Strange Ball Game"

"Strange Ball Game" was written and directed by Bao Lei, Gong Jirong, and Gu Bai, directed by Zhang Chaoqun and Zhan Tong, and photographed by Zhang Chaoqun, 1979 In December, the filming of Meiying was completed. This is a fictional story. It describes the Sayesaye ice hockey team, which claims to have won nine thousand nine hundred and ninety-nine times and is known for its dominance, coming to Utoland. They attempt to use their advanced electronic technology to win the game on the court. He pretended to be a master, but the conspiracy was discovered by two young people who loved electronics. The storyline of the film is ups and downs, strange and interesting. The entire film uses cartoon techniques to outline the ugly face of international hegemonism.

5. "The True and False Li Kui"

"The True and False Li Kui" is adapted from the relevant chapters of the classic novel "Water Margin", screenwriter Bao Lei, director Zhan Tong, cinematographer Chen Zengfu, 1981 The shooting was completed in September of this year. The film depicts Li Kui returning home, and on the way Li Gui, who pretends to be a robber, is cut off. The puppet film adaptation of this famous work is very unique. In the adaptation, he adopted the creative method of "cutting off and connecting": the so-called "cutting" means making up a new story, which is conducive to innovation; the so-called "connecting" means maintaining the original idea of ??the work. , features, styles, etc. Use this method to highlight Li Kui's image and character of being upright, honest, jealous of evil, and brave.

6. "The Story of Afanti"

"The Story of Afanti" (Episodes 1 to 13) is written by Ling Shu, Jin Xi, and Qu Jianfang, and directed by Qu Jian Fang, Cai Yuanlan, Jin Fangling, photographer Zhu Dingyuan, completed by Meiying from December 1981 to April 1988. There are 29 films in total, with a length of 7472 meters. The film describes the contest between Afanti and the small feudal lords, rich men Burke and Bayi, which makes these vampires dizzy. Afanti even dared to compete with the king in wisdom, which greatly improved the aspirations of the people. In order to create the image of Afanti, the main creative team went to Xinjiang twice to go deep into life, collect Afanti's stories, and find the prototype of Afanti. Finally, they succeeded in creating a vivid image of Afanti: with a goatee and an eagle hook. He has a nose, small round eyes and leaf-shaped eyebrows, a "color bar" turban on his head, a small hat, a plucked instrument in his hand, and travels around on a donkey. He "loves to take care of the injustices in the world and vent his anger for the poor." . The second episode of the film "Rabbit Delivers a Message" won the Jury Honorary Award at the 4th Chinese Film "Golden Rooster Award" in May 1984. The fourth episode of the film "The Miracle Doctor" won the 6th Chicago International Children's Film Festival in the United States in October 1989. First prize.

7. "Porcelain Doll" and "Fish Plate"

"Porcelain Doll" was written by Hu Kangrong and Fang Runnan, directed by Fang Runnan, and photographed by Cai Changsheng. The filming was completed in December 1982. The film describes a girl who carved a fox and then a cute porcelain doll. The fox was jealous of it and lured it to play in the wild. In the wind and rain, the clay doll ran into the trash can and was bullied by the garbage. Fortunately, the girl picked up the clay doll, repainted it, and made it into a more beautiful, cute porcelain doll that was not afraid of wind and rain. This is a film that combines puppets with real people. A variety of porcelain carvings in the "Porcelain Doll" were made from kaolin (fine clay) in Jingdezhen, the world-famous porcelain capital, and then painted with high-temperature colored glaze before being baked. Sometimes several pieces are baked for one action. 192 porcelain dolls with different postures of the protagonist were baked. The director and action crew used the methods of "set-up" and "substitution" to shoot various actions on the same porcelain sculpture, and used the film's montage technique to make the porcelain doll without joints not only move, stand, and walk, but also He can move his hands and feet, and he can also sing and dance. This is a new exploration in the history of Chinese art films.

"Fish Plate" was written by Pan Guoxiang and Fang Runan, directed by Fang Runnan, and photographed by Hu Zhaohong. The filming was completed in November 1988 by American Film. Following "Porcelain Doll", these are two films that use ceramics as a modeling method. The film uses implicit symbolic techniques to describe how environmental pollution turns a blue and white porcelain plate into pitch black, and turns a lively and lovely blue fish into a pile of bones. "Fish Plate" directly integrates Jiangnan folk ceramic patterns into modern art, using traditional formal beauty to express real-life themes. It is a bold and successful attempt. The film won first place in Group A at the first Shanghai International Animation Film Festival in 1988.

8. "Michelle Overnight"

"Michelle Overnight" was directed by Che Hui, art designer Xin Hongxiang, and cinematographer Cai Changsheng. The filming was completed in September 1986 by Meiying. The film describes a little girl, Lingling, who puts a lot of coins into a porcelain dog's piggy bank, and the porcelain dog becomes an arrogant overnight millionaire, and is envied by her friends. The next morning, Lingling took out the coins. The porcelain dog's stomach was empty, but she was bullied by her friends. The film sharply satirizes the ugly soul of money worshipers in society through the different situations of the little porcelain dog becoming rich and poor overnight. This is a children's-themed film, and the protagonist's costumes are purchased directly from toy stores. Because the toys themselves have various aesthetic powers of their own shapes, such as exaggerated shapes, decorative colors, and the beauty of textures of various materials, especially the clumsy and honest movements shown in the mechanical movements of the toys, the film has a unique style.

9. "The Legend of Capturing the Demon"

"The Legend of Capturing the Demon" (Episodes 1 to 6) Screenwriters Ma Mingquan and Zhuang Huoming, Chief Director Zhan Tongxuan, Executive Director Xiao Huaihai, Photographer Qiao Yuanzheng , November 1987, jointly produced by American Film and Fujian Film Studio. There are 18 copies of the 6-episode film, with a total length of 4,492 meters. Adapted from the classic novel "Fengshen Yanyi", it describes the debauchery and cruelty of King Zhou of the Yin and Shang Dynasties, doting on Daji, who was turned into a vixen, and killing innocent people. Concubine Ziya was sent by the master Yuanshi Tianzun to go down the mountain to eliminate demons, assist King Zhou in defeating Zhou, and overthrow Shang Dynasty. The characters are vivid in appearance, including King Zhou's tyranny and cruelty, and the destruction of life, Daji's charm and voluptuousness, Jiang Ziya's boundless magic, humor and integrity, and Master Wen's uprightness, majesty, and loyalty to death, all of which left a deep impression on the audience. The film is performed by Zhangzhou Puppet Troupe. The film's scenes, music, and puppet masks all have strong characteristics of Chinese Peking Opera.

10. "Dispute"

"Dispute" was written by Yu Zheguang, directed by Xia Bingjun, and photographed by Chen Zengfu. The filming was completed in June 1988 by Meiying. The film depicts a teapot that thinks it is tall and majestic, but looks down upon a small teacup. The teapot does not obey, so the two objects fight, and both parties suffer the sad end of being broken. In this fairy tale-themed film, the characters (teapot, teacup) come directly from Yixing, Jiangsu. Originally, several still lifes were given vivid life and full of philosophy, and were well received by experts.

11. "The Shot of No Shot"

The screenwriter and director of "The Shot of No Shot" is Kawamoto Kihachiro (Japan), the paintings are Liu Yanxing and Zhao Hong, and the photography is Qiao Yuanzheng , completed in 1988 by American Film. The film describes that during the Spring and Autumn Period and the Warring States Period, Ji Chang, a young man from the State of Zhao, worshiped Pegasus, a famous archer in Handan City, as his teacher, and learned a set of archery skills. However, he was not satisfied with this, and went to Mount Emei to worship Gan Ying as his teacher. Gan Ying asked him Teach the art of shooting without using a bow and arrow. The film won the Special Award at China's First Shanghai International Animation Film Festival in 1988.

12. "The Great Thief"

"The Great Thief" (episodes 1 to 8) is adapted from the German fairy tale of the same name by Outfleet Pressler, screenwriter Ouyang Yuping , Hu Zhaohong, directed by Fang Runnan, Liu Huiyi, Xia Bingjun, Cheng Zhongyue, Hu Zhaohong, art designers Liu Zedai, Xie Hongbin, Sun Daheng, photographers Qiao Yuanzheng, Zhu Dingyuan, Chen Zengfu, Hu Zhaohong. The filming was completed in 1990 by Meiying, with 8 episodes and 24 copies. The film describes the magical story of the great thief Huo Zhenplozi who changed his ways from evil to evil. The characters in this film are exaggerated, especially in portraying the inner activities of the characters. The action is interesting and humorous, making it a highly watchable film. The film won the first prize and the Music Award at the Second China Film and Television Animation Show in December 1993.

13. "Strange Old Man"

"Strange Old Man" (Episodes 1 to 4) is written by Qiao Yuanzheng, Gong Jianying, and Qiang Xiaobai, and directed by You Lei, Hu Zhaohong, and Qiao Yuan Zheng, Cai Yuanlan, Zhu Bing, Liu Hui, photography by Qiao Yuanzheng, Hu Zhaohong, Huang Zhiyi, Wan Zhiqiang, and Zhu Dingyuan. The filming was completed in December 1992. The film depicts the story of a strange old man who uses special powers to help educate primary school student Zhao Xinxin to correct his mistakes. The characters in the film are exaggerated and the actions are interesting and humorous.

14. "Flowers in the Mirror"

"Flowers in the Mirror" (episodes 1 to 4) is adapted from Li Ruzhen's novel of the same name. Episodes 1 to 3 are written by Wang Dawei, and episode 4 is written and directed by Hu Zhaohong and Zou Qin. Photographers are Hu Zhaohong and Huang Zhiyi. , the filming of the film was completed in December 1991. The film describes the scholar Tang Ao who failed in the examination and went out to do business with his wife and brother Lin Zhiyang. He traveled to many countries and experienced various customs and customs. On the premise of being faithful to the original work, the film fully utilizes the rich imagination of art films to create a series of strange people, objects, and sceneries that are thrilling, vivid, and interesting. The fourth episode of the film "Two-Faced Country" won the 1991 Outstanding Film Award from the Ministry of Radio, Film and Television and the 1993 Honorary Award at the Second China Film and Television Animation Show.

15. "The Ruler between the Eyebrows"

"The Ruler between the Eyebrows" is adapted from the Wei Dynasty's "Sou Shen Ji", written and directed by Ling Shu, and photographed by Zhu Dingyuan. The filming was completed in December 1992. . The film describes the story of Mo Xie, a famous swordsmith in ancient times, and his wife, who were forced to forge the world's most invisible sword for a tyrant. After the craftsman was killed, the craftsman's apprentice protected the craftsman's son Mei Jian Chi from escaping with another sword. Mei Jian Chi grew up to be The father took revenge and died with the tyrant. This is a folklore tragedy with a clear theme: resist the tyrant and eliminate harm for the people. The characters in the film have distinctive personalities and strong national colors. The film's photography is unique. In the climactic scene where Mei Jian Chi avenges his father, the photographer used top lighting, side lighting, backlighting and multi-color lighting and other photography techniques to create a strong, strange, rich and tragic atmosphere on the screen. Very good artistic effect. The film won the 1991 Excellent Film Award from the Ministry of Radio, Film and Television in May 1992, and the Honorary Award at the Second China Film and Television Animation Show in December 1993.

16. "The Stubborn Kelaban"

"The Stubborn Kelaban" is adapted from the French travel novel of the same name by Ernest. Wang Dawei and Hu Zhaohong revised the script submitted by France. It was directed by Hu Zhaohong and photographed by Hu Zhaohong. In December 1995, American Pictures processed and filmed it according to the commission of the German Dunyok Production Company. The film describes a series of dramatic stories that Kai takes over when he goes out for business. He refuses the government's requirement to pay taxes when crossing the Strait, circumvents the Black Sea and circumvents the Black Sea, and encounters a series of dramatic stories on his way home. Based on the story's bizarre, complex plot, and numerous characters, the director, director, and creators adopted a refining and summary approach to downplay the color of the travel notes and strengthen the description of the characters' personalities, especially the protagonist Kailaban's stubborn temper, making the film form a Western culture Combining it with Eastern culture, it is a unique style that is intertwined with fun, humor, bizarreness and thrills.