作者： admin

????Xinhua News Agency, Beijing, December 23rd (Reporter Zhao Wenjun, Yang Weihan) The draft vaccine management law was first submitted to the Seventh Session of the 13th the National People’s Congress Standing Committee (NPCSC) for deliberation on the 23rd. The draft legislates separately on vaccine management, highlights the characteristics of vaccine management, strengthens risk management, whole-process control, strict supervision and social co-governance of vaccines, and effectively ensures safe, effective and standardized vaccination of vaccines.

????The CPC Central Committee and the State Council attached great importance to vaccine supervision and demanded that the long-term mechanism of vaccine drug supervision be improved quickly. Separate legislation on vaccine management is conducive to further improving the authority and stability of vaccine management measures.

????The relevant person in charge of the Policy and Regulation Department of National Medical Products Administration introduced that in 2005, the State Council promulgated the Regulations on the Administration of Vaccine Circulation and Vaccination, which was revised in 2016. The draft vaccine management law submitted for deliberation clearly stipulates vaccine development, production, circulation, vaccination, compensation and compensation in legal form, which is conducive to the establishment of a systematic and full-chain vaccine management system.

????The person in charge said that the draft adheres to the strategic and public welfare nature of vaccines and incorporates the development, production and storage of vaccines to prevent major diseases into the national strategy. For example, it is proposed that the state formulate the vaccine industry development plan and industrial policy to encourage the scale and intensification of production; Establish a departmental coordination mechanism to coordinate vaccine safety supervision; Further strengthen the national immunization planning system and clearly implement the no-fault compensation mechanism for abnormal reactions.

????In order to reflect the strictest supervision, the draft proposes that the state should implement a stricter access system for vaccine production than for general drug production. Vaccines are generally not required to be commissioned for production, and the legal representative, principal responsible person and other key personnel are required to have good credit records, corresponding professional background and working experience. Implement a vaccine batch issuance system and compulsory vaccine liability insurance. In addition, it also stipulates that clinical trials of vaccines should be implemented or organized by tertiary medical institutions or disease control institutions at or above the provincial level.

????For the whole process of vaccine development, production, circulation and vaccination, the relevant provisions of the draft clearly implement the responsibilities of all parties. The state implements the whole-process information traceability system of vaccines, and carries out quality tracking analysis of vaccines on the market; In the circulation link, the disease prevention and control institutions shall organize the distribution of vaccines to the inoculation units, and other units or individuals shall not supply vaccines to the inoculation units.

????The draft clarifies regulatory responsibilities, strengthens regulatory capacity building, and severely cracks down on illegal activities. Require drug regulatory authorities and health administrative departments to establish an information sharing mechanism and implement a unified announcement system for vaccine safety information; Building a team of professional and specialized inspectors at the national and provincial levels; Strengthen the accountability of regulatory authorities and local governments, reflecting the principle of heavier punishment for vaccine violations.

In recent years, China’s network animation has developed rapidly. According to relevant statistics, in 2019 and 2020, there were 26 and 24 online original animations respectively, and in 2021, it reached 42. By April, 2022, the cumulative broadcast volume of Douluo Continent had exceeded 40 billion times, setting a new high for animation in China. There are also works such as "Breaking the Sky", "Perfect World" and "One Thought of Eternity", with hundreds of millions of broadcasts and high attention. However, corresponding to the sharp increase in the number of works and the hot market response, the quality of many works has been criticized, and there are not many masterpieces that are both applauded and popular. This paradox of upside-down click volume and word-of-mouth should arouse practitioners’ thinking.

We are building a production and broadcasting industry chain with low cost, high efficiency and assembly line.

With the development of video websites, domestic animation has experienced a media shift from TV animation to network animation. The continuous emergence of network animation works has gradually broken the situation that the audience of TV animation is relatively young, and satisfied the diverse needs of audiences of different ages for animation with more diversified positioning. At the beginning, many creators chose the strategy of comic adaptation, and formed the operation mode of "comic+animation company+video platform" in their exploration, and created works such as "100,000 cold jokes". In 2015, the animation "Choosing Heaven" adapted from the online novel of the same name was launched, and online animation entered the era of online adaptation.

Works such as "Breaking the Sky" and "Fighting the Mainland" have sprung up like mushrooms after rain, and online animation has shifted its creative perspective to the field of online novel adaptation. Some works are led by the online literature platform, and the original online novel text is handed over to the animation production company for visual adaptation, and then the finished products are put on the online audio-visual platform to play; Others are directly cooperated by the online literature platform and the online audio-visual platform. For example, the Reading Group and Tencent Group signed the "300-part network text modification plan", creating a low-cost, high-efficiency and streamlined production and broadcasting industry chain.

According to statistics, more than half of the top ten online animations in 2021 are adaptations of online novels. The reason why the animation adapted from the net text has such an amazing amount of play is mainly the result of the superposition effect of fans. Online novels adapted from online animation are often explosive works of online platform and have a large number of fans. Animation production companies also have a group of loyal fans, coupled with the audience’s viewing habits cultivated by the online audio-visual platform after more than ten years, the three have formed a joint force, which has made the number of works adapted from online texts hit record highs.

Facing the polarization of broadcasting and word of mouth

While the adaptation of online text has become the "new darling" of online animation creation, it faces the polarization of broadcasting and word of mouth. Many works are played in hundreds of millions, but the audience evaluation is worrying. For example, in the eleventh chapter of Douluo Continent, the score on Douban dropped from 7.2 to 6.6, while in the first season of The Demon God, it was 6.5, and in the first season of Fighting through the Sky, it was only 5.6. Among the top 50 animations in Douban’s rating list, there are only a handful of animations adapted from online texts. The current network animation creation faces some unavoidable problems.

First, the source is not wide. The text adapted from online text and animation is basically a work that has been a hit on the original online literature platform, and the source of the text is mainly concentrated in a few head writers. These writers have a large fan base, and choosing their works can guarantee the amount of play. The higher the broadcast volume, the more the producer prefers to choose other works of this writer for adaptation, thus falling into the strange circle of one-way text selection. There is a serious homogenization problem in the works of these writers, which drags the creation of online animation into the world of cultivating immortals and fantasy, forming a bad and closed internal cycle.

Second, the style is not high. Some online animations are full of violence, blood and pornography, which can easily distort the audience, especially teenagers’ cognition of the real world. Many online animations tend to be too entertaining, and the proportion of confrontation and cultivation of immortals is too large. There are still many works that blindly rely on the strength of others to challenge their opponents when expressing the growth process of the protagonist. Such a plot also ignores the significance of personal struggle and conveys negative values such as getting something for nothing.

The third is poor quality. The quality of online animation is uneven, especially in the scene, character modeling and duration. For example, in a film, the "Fire Python Tiger" described in the original work is a fierce and domineering beast, but it has become a small and cartoon cat image in the animation, which is neither loyal to the original work nor acceptable to the audience. In terms of the length of time, some online texts have shrunk dramatically. The length of an animation episode is less than 20 minutes, and the effective content is only more than 10 minutes except the opening and closing, and there are a lot of soft advertisements, which seriously affect the viewing experience.

The profound traditional culture of China is still the foundation of creation.

Since June 1st this year, the State Administration of Radio and Television has implemented a licensing system for the distribution of domestic online dramas, which means that the "licensing era" of more standardized and stricter online audiovisual has arrived. In this context, network animation should also improve the level of specialization and standardization, face up to the problem of being addicted to adaptation, devote itself to creating excellent masterpieces that are applauded and popular, and embark on a breakthrough road from adaptation to originality.

It should be noted that teenagers are an important audience for online animation. Therefore, the value orientation of network animation is particularly critical, which is related to helping children to button up the "first button" of life and lay a solid foundation of thought and values. However, in some current online animation works, the values spread are vulgar and negative. Therefore, the creation of online animation needs to further strengthen the sense of orientation, with correct political orientation, healthy ideological orientation, noble moral orientation and rich cultural orientation, so that online animation has soul, affection and love, and truly becomes a spiritual and nutritious feast for the audience.

Orientation is conveyed by telling stories. Therefore, what kind of theme to choose and what kind of story to tell is an urgent problem for network animation creators. We should jump out of the stereotype that the current creation is limited to the adaptation of online literature and open up a broader imagination space. On the one hand, based on tradition, draw nutrition from excellent traditional culture. At present, most of the network animations related to the traditional culture of China are "old wine in new bottles", and the author makes up new content based on fairy tales. Although this has a certain relationship with the traditional culture, it does not excavate and present the traditional culture rigorously and profoundly. China’s traditional culture is extensive and profound, among which there are numerous excellent story texts, including not only fairy tales, but also legendary historical events, heroes and classical opera stories. Network animation should select more excellent story texts to create. On the other hand, keep close to reality and create more works that closely follow the main theme. In recent years, a number of animation works have been deeply excavated and diversified around important time nodes and major events such as poverty alleviation and the centenary of the founding of the Party, which have been welcomed by the audience. For example, Diary of the King, from the perspective of an orange cat, introduces the cause of poverty alleviation and teaching in China, bringing a warm and meaningful viewing experience to the audience. It can be seen that while showing people’s imaginative world, online animation should also pay more attention to the real world, aim the lens at ordinary people in life and interpret their extraordinary stories, so as to make the creation more practical and social.

Creators should also focus on the aesthetic field and take the aesthetic implication of creating China characteristics as their conscious pursuit. In the middle and late last century, Shanghai Animation Film Studio and other China’s animation works were world-renowned, creating the animation forms of ink painting, paper cutting and origami, and produced works such as Little Tadpole Looking for Mom, Mountain Scenery, Mudi and Deer Bell, which attracted foreign animation directors to learn from their teachers. However, with the development of China animation to today’s network animation stage, the traditional aesthetic implication of China is somewhat thin. Many works are influenced by foreign animation styles and lack distinctive local characteristics. Therefore, network animation should dig deep into China’s aesthetic wealth and create more excellent animation works that reflect China’s aesthetic style. In addition, aesthetics and technology go hand in hand, so how to innovate science and technology and improve art and technology simultaneously is an important development trend of network animation. At present, VR and AR technologies are relatively mature, and network animation can be actively used in the creative process, which makes the creation by going up one flight of stairs in visual presentation.

In short, network animation, as a new variant of domestic animation, has great development potential. Creators should adhere to the concept of integrity and innovation, enhance their original ability, enrich artistic expression, convey mainstream values silently, create more classic artistic images, create more far-reaching works of art, and improve the overall quality of China animation, so as to make it an important force to enhance cultural self-confidence and boost culture to the sea.

??(Author: Liu Hanwen, Professor of Communication College of Fujian Normal University, Zheng Zekun, Master of Communication College of Fujian Normal University in 2021)

Special feature of 1905 film network The animated film (hereinafter referred to as "Halloween Bride") was released, and it became the box office champion that week with over 80 million box office.

Undoubtedly, the first issue of Detective Conan has always been the "hot cake" of Japanese theater animated films in China market.

The last two works — — "Detective Conan: Boxing of the Blue" (2019) and "Detective Conan: Crimson Bullet" (2021) have exceeded 200 million at the box office, successfully surpassing another national animation IP— — The achievements of the theatrical animation of Doraemon series.

In Japan, the box office results of Detective Conan series are also rising all the way, and the new work "Halloween Bride" has set the highest box office in this series with a score of over 9.6 billion yen. In addition, the word-of-mouth of the film scored 4.2/5 on the Japanese rating website, making it the best word-of-mouth in this series in recent years.

In the theater design, Matsuda Jinpei appeared as the main character, and his "five-member police academy" offered a wave of "memory killings". As the 25th theatrical film in Detective Conan series, it can be described as "Ye Qing Hui" for many fans.

Obviously, the director of this theatrical version handed over a good report card, and many fans shouted, hoping that the director could continue to direct subsequent theatrical works. Compared with the comments made by directors in the past few theatrical editions in the audience’s mind, Susumu Mitsunaka is definitely "winning".

01. Law of creation

As the 25th theatrical animation of Detective Conan, The Bride of Halloween is of great significance.

Especially this time, the guide tube was handed over to Susumu Mitsunaka, who is not experienced. For a long time in the past, Detective Conan kept the unwritten rule of "seven-year itch" — — Every seven theatrical editions, a director is changed.

Only after silent director Kong Wen finished his creation did this rule change. First, he directed the Executor of Zero, and then he created the fist of the blue and the crimson bullet, and then came to the latest one.

The creative team of the theatrical version of Detective Conan is always composed of the original author and the director. Looking back at the history of creation, the most famous directors are, and three directors.

Original authorgreen hillsGangchang

From 2011 to 2017, Kong Wen, the director in charge of creation, was regarded as an "absolute villain" by many Conan fans, and even thought that his period was Conan’s "collapse period".

After all, for the creation of the theatrical version of Detective Conan, two directors, Kenji Kodama and Yamamoto Yasuichiro, are also directors of the early TV version, and they have their own systems for the development of the whole story.

02. Early generation creation

Kenji Kodama’s creation is regarded by many people as the achievement of the theatrical version of Detective Conan, but it is undeniable that before the creation company planned to launch the film version, the original G?sh? Aoyama had planned to let the serial of this story end.

But when he knew that he could put this IP on the big screen, he took the task with great joy and launched the first theatrical version of "Detonating Skyscrapers".

Director Kenji Kodama, like G?sh? Aoyama, is a writer who loves the case reasoning very much, so the stories are all based on the case reasoning of partial realism, combined with the setting of the emotional lines of the characters.

Once the theatrical version of Detective Conan was released, it was favored by fans at that time. The seven animated films directed by him have scored more than 8 points at home, including the most classic "The Dead of Baker Street".

When the guide tube reached Yamamoto Yasuichiro’s hand, there was not much breakthrough in quality, but the control of the Benguer reasoning and the emotional relationship of characters was still on-line.

Many people think that Yao Ming was born from the TV version of animation, and the reason why the two directors are quite different is that on the one hand, Kenji Kodama happened to be at the peak of G?sh? Aoyama’s creation; On the other hand, he was not influenced too much by the creation of TV series.

Yamamoto Yasuichiro’s biggest problem is that he is interfered too much by drama creation, and even many scenes are based on the content of the drama, which is relatively simple as a whole.

However, during this period, Kidd’s scenes obviously increased gradually, and his love and hate with Conan began to be discussed repeatedly as a topic. And Kidd’s famous scenes of several gorgeous rescues all appeared in the Yamamoto Yasuichiro era.

For the audience in China, the 13th work of the series, The Dark Tracker, has become the first theatrical version of Detective Conan introduced to the mainland market in China.

Although the quality of the two directors has changed greatly, it is undeniable that the box office of the whole series of theatrical versions has steadily increased from 1.1 billion yen and maintained at around 3 billion yen. For fans, Yamamoto Yasuichiro can only be regarded as a great achievement, what’s more, he was succeeded by silent Confucius, who subverted the whole series.

03. Business model

If the first two directors are the initiators accompanying the growth of this IP, then Silent Confucius is more like a foreign reformer.

After all, in his previous resume, there is no lack of overseas film and game production experience. And he also applied these experiences to the creation of the theatrical version very well, making the performance in the scene more ornamental. But what followed was that the reasoning details of Detective Conan itself gradually weakened.

Silent director kong Wen

Especially in his first theatrical version of "Fifteen Minutes of Silence", Conan made all kinds of anti-physical actions, so he was also denounced by fans as "Ke Xue".

If Kōbun Shizuno has continued the creation of the first two directors, it is an explosion play. He even stepped up his creation. In the past, most of the big scenes that only existed in the climax paragraphs were blown up when he came here. Even Conan’s skateboard and shoes showed functions beyond scientific limits and properly became "sci-fi action movies".

These problems are best reflected in the 19th theatrical edition of Sunflowers for Fire. But even though it is criticized by most conan fan, it is undeniable that Kōbun Shizuno’s model has successfully opened the commercial road of the theatrical version of Detective Conan. During this period, the box office of the series of films has increased from 3 billion yen to nearly 7 billion yen.

In the face of fans’ doubts, he also came out to explain that this style of work is not just his idea, but the fact is that it is the result of combining the author’s requirements, technical special effects, audience surveys and other factors. For him, and even the whole Detective Conan, the former audience has gradually grown up. "We just want to attract more new audiences."

Looking through all kinds of interviews by the author G?sh? Aoyama, as early as 2000, he once said, "The charm of cartoons is the pleasure of action, and sure enough, movies still need these! Especially the fierce big scene. " Even in everyone’s eyes, Kenji Kodama, who is given priority to with this case reasoning, once emphasized the importance of action scenes.

With Kōbun Shizuno’s withdrawal, new directors appear constantly, but compared with the previous three directors, the producers obviously saw the reasons for the box office of Detective Conan series, and it is difficult to give them another chance to play. Even though "The Bride of Halloween" received excellent market feedback, it is not difficult to find that the setting of "Ke Xue" is still not absent.

04. The next wave of creation

The reason why the box office performance of Detective Conan is bigger than that of Doraemon series is that, to a great extent, the former insists on originality, while the latter is remaking the past plot.

But now that Detective Conan series has found its own creative mode, how to break this creative bottleneck has become a difficulty for G?sh? Aoyama and even the whole creator behind it.

But the careful audience can find that Conan is no longer the protagonist of the work, but more like a clue to connect the whole story. In The Bride of Halloween, the feelings of the "five-member police academy" broke through even more. For this reason, during its release, Japan also replayed The Executor of Zero, echoing An Shi Tong in the five-member, namely Furuya Rei.

Undeniably, The Executor of Zero achieved good box office results at that time, largely due to the box office economy driven by role fans. Yuzuru Tachikawa, the director of this film, once said in an interview that with the influx of more and more new fans, Detective Conan is no longer just Conan itself. "One of the reasons is that the characters with various personalities and the relationship between the characters make the story more intriguing."

Because of this, the selling point of "Crimson Bullet" is the Blanche family, and at the same time, it adds Haibara Ai’s scenes. To a great extent, this has caused a quarrel between the "New Zealand Party" and the "Ke Ai Party". However, in the pilot preview of the official theatrical version of Detective Conan in 2023, Haibara Ai will have a heavy performance. At that time, CP will take the side, which may make this work rich.

The director of this latest work has not been announced yet, but from The Bride of Halloween, we can see some subtle changes made by Susumu Mitsunaka in the creative mode of Silent Confucius, which may also make the audience look forward to this series and new creative styles will appear in the future.