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| Princess Iron Fan | |
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| Distributed by | Cinema Epoch |
Release date |
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Running time | 73 min |
| Country | China |
Princess Iron Fan (traditional Chinese:鐵扇公主;simplified Chinese:铁扇公主;pinyin:Tiě shàn gōngzhǔ), is the first full-lengthChinese animatedfeature film. It is also considered the first Asian animated feature film. The film is based on an episode of the 16th-century novelJourney to the West. It was directed inShanghai under difficult conditions in the thick ofWorld War II byWan Guchan andWan Laiming (theWan brothers) and was released on 19 November 1941.
The film later became influential in the development of East Asian animation, including Japanese anime, Vietnamese animation, Korean animation and Chinese animation.[1][2]
The story was liberally adapted from a short sequence in the popular Chinese novelJourney to the West.Princess Iron Fan is a main character.
Specifically, the film focused on the duel between theMonkey King and a vengeful princess, whose fan is desperately needed to quench the flames that surround a peasant village.
The Wan family twinsWan Laiming andWan Guchan with their brothersWan Chaochen andWan Dihuan were the first animators in China. After the release of their first "real" cartoon,Uproar in the Studio (1926), they continued to dominate China's animation industry for the next several decades. In the late 1930s, with Shanghai underJapanese occupation, they began work on China's firstfeature-length animated film. In 1939, theWan brothers sawSnow White and the Seven Dwarfs and set the standard in attempting to create a film of equal quality for the nation's honor.
Wan Laiming and Wan Guchan returned to the unoccupied International Settlement and French Concession of Shanghai (known as Orphan/Solitary Island) in April 1939 and produced Tieshan gongzhu/Princess Iron Fan (1941), the first animated feature film in Asia. It became an instant hit and traveled to many other countries.[3] The animators worked with extremely limited resources, including a shortage of film stock, animation equipment, and financial support, as much of the country was engulfed in conflict. reflecting both the ambition and the technical limitations of China's fledgling animation industry at the time.
The film took three years, 237 artists and 350,000yuan to make.Rotoscoping was used extensively to save money, and the eyes of the live actors are often visible in the faces of the animated characters.
By 1940, the film would render past 20,000 frames, using up more than 200 thousand pieces of paper (400reams of 500 pieces each). They shot over 18,000 ft (5,500 m) of footage. And the final piece would contain 7,600 ft (2,300 m) of footage which can be shown in 80 minutes. TheWan brothers also invited the following actors and actresses for sound dubbing (白虹),(严月玲),(姜明),(韩兰根),(殷秀岑). At the time, they were at theXinhua Film Company animation department since it was the only remaining production company left during the period of the Japanese occupation. The manager of the company who help financed the film wasZhang Shankun.
Princess Iron Fan became the first animated feature film to be made inChina. The movie was made to create an Indigenous Chinese princess that is based on folklore.[4] Upon completion the film was screened by the Chinese union film company.
| English production | Original version | Crew | Romanized |
|---|---|---|---|
| Produced by | 監製 | S.K Chang (Zhang Shankun) | 張善琨 |
| Screenplay by | 編劇 | Wang Qianbai | 王乾白 |
| Screenwriting Consultant | 顧問 | Chen Yiqing | 陳翼青 |
| Sound Recorded by | 錄音 | Liu Enze Using Chinatone Technology | 劉恩澤 採用中華通錄音機 |
| Musical Director | 音樂指揮 | Huang Yijun | 黃貽鈞 |
| Musical Consultant | 音樂顧問 | Zhang Zhengfan | 章正凡 |
| Composer | 作曲 | Lu Zhongren | 陸仲任 |
| Sound Effects | 效果 | Chen Zhong | 陳中 |
| Editing | 剪輯 | Wang Jinyi | 王金義 |
| Printing | 洗印 | Xu Hexiang Lin Xiangfu Chen Xinyu | 許荷香 林祥富 陳鑫甫 |
| Designers | 設計 | Chen Qifa Fei Boyi | 陳啟發 費伯夷 |
| Photography | 攝影 | Liu Guangxing Chen Zhengfa Zhou Jiarang Shi Fengqi Sun Feixia | 劉廣興 陳正發 周家讓 石鳳岐 孫緋霞 |
| Backgrounds | 背景 | Cao Xu Chen Fangqian Tang Tao Fan Manyun | 曹旭 陳方千 唐濤 范曼雲 |
| Illustrators | 繪稿 | Yu Yiru Li Yi Liu Wenjie Wu Guang Yin Fusheng Chen Jintao Xie Minyan Liu Chenfei Zhao Fengshi Zhu Yong Liu Yimeng Shen Youming Hu Sixiao Guo Ruisheng Wu Yan Jin Fangbin Cao Zhong Zhang Danian | 俞翼如 李毅 劉文頡 吳光 殷復生 陳錦濤 謝敏燕 劉嗔非 趙逢時 朱湧 劉軼蒙 沈叩鳴 胡斯孝 郭瑞生 吳焱 金方斌 曹忠 張大年 |
| Line Drawings | 繪線 | Chen Min Wu Minfa Sun Xiuping Yu Wenjun Wu Yueting Huang Zhenwen Lu Zhongbo Dai Jue Ye Lingyun Zhang Liangqin Sun Song Guo Hengyi Yuan Yongqing Shen Ruihe Chen Jinfan Zhang Jutang Fang Pinying Yu Zupeng Sheng Liangxian Shen Zhongxia Tang Yude Lu Guangyi Zhang Tan Zhu Shunlin Ding Baoguang Shi Fakang Zhao Shengzai Qin Qixian Yang Jinxin Feng Bofan | 陳民 吴民發 孫修平 俞文鋆 吳悅庭 黃振文 陸仲柏 戴覺 葉凌雲 章亮欽 孫松 郭恆義 袁永慶 沈瑞鶴 陳錦範 張菊堂 方品英 俞祖鵬 盛亮賢 沈忠俠 唐秉德 陸光儀 張談 朱順麟 丁竇光 石發康 趙盛哉 欽其賢 楊錦新 馮伯富 |
| Color Artists | 着色 | Yuan Huimin Weng Huanbo Ge Yongliang Wang Zengting Wang Congzhou Quan Han Lin Kezhen Li Shifen Mi Longnian Yuan Yuyao Yuan Zichuan Xu Huifen Zou Guiying Xu Huilan Chen Huiying Cai Yongfa Dai Keshu Dai Kehui Luo Zong | 袁慧敏 翁煥伯 戈永良 王增庭 王從周 全漢 林可珍 李世芬 宓龍年 袁玉瑤 袁子傳 許惠芬 鄒桂英 許蕙蘭 陳慧英 蔡永發 戴克淑 戴克惠 羅粽 |
| Lead Artists | 主繪 | Wan Laiming Wan Guchan | 萬籟鳴 萬古蟾 |
The original soundtrack was composed by Lu Chong-Ren (1911-2011), a folk music composer known for his work. Scholars have praised the soundtrack for incorporating and adapting Chinese folk elements, although some modern listeners might perceive it as excessively gestural and action-driven, akin to early Tom and Jerry cartoons.[5]
Initially, the film was a major success upon its release in December 1941 in Shanghai, running for a record-breaking one and a half months. Subsequently, it was also shown in Hong Kong, South Asia, and Japan. Despite its popularity, the Japanese military banned the film from being shown in Japan due to its wartime themes and rhetoric.[6]
Princess Iron Fan's inspired the 16-year-oldOsamu Tezuka to become a comics artist and prompting theJapanese Navy to commission Japan's own first feature-length animated film, 1945'sMomotaro's Divine Sea Warriors (the earlier filmMomotaro's Sea Eagles is three minutes shy of being feature-length).
This film also marked the emergence of animation as a medium capable of expressing national identity, adapting classical Chinese literature (Journey to the West)[7] to convey subtle patriotic messages under the constraints of Japanese occupation. Though its production was shaped by wartime hardships, the film demonstrated the viability of animation as a serious cinematic form in China and helped initiate what would become a distinct tradition of Chinese animation.[8]
A Chinese landscape painting method known as Ink Wash painting, which flourished throughout the Sui and Tang Dynasty from the sixth to the ninth century and is still in use today, is the inspiration for Princess Iron Fan's visual aesthetic.
In addition to traditional Chinese artistic styles, the Wans also cultivated a unique style that set their work apart. They used galloping rich imagery, and bright, colorful, and expressive techniques of bold exaggeration. This style can be considered as: pursuing personal initiative, individual inclination, thought and fantasy, and form and content.[9]
Specifically, it focusesPrincess Iron Fan (1941), the first animated feature film made in China and Asia, and how its wartime travel to Japan gave rise to the birth of animated feature films in wartime Japan. It also impacted Tezuka Osamu (1928-1989), the so-called god of modern Japanese manga and anime whose works were shadowed byPrincess Iron Fan from the beginning to the end of his career.Princess Iron Fan transformed the early history of Japanese animation, yet its national identity was changed by the journey.
China's first feature-length cartoon, the third in the world, exerted an incredible influence on the Asian animation market.... It also inspired the Japanese to make their own animated feature, indirectly pollinating the early anime industry. PRINCESS IRON FAN was cited as a major influence on Japan's greatest manga artist Osamu Tezuka, who entered the field after seeing it as a boy in 1943.