A Study on the Subject Representation of the Chinese Short Ink Animation <Goose Mountain>(2023)

Since the 1990s, traditional Chinese ink animation has declined due to its complexity, lack of entertainment value, and high production costs. Although digital technology has been introduced to innovate, there remains the problem of the pictorial nature of ink painting being sacrificed for the spatiotemporal characteristics of animation. Therefore, this paper explores human desire and nature through the character portrayal and mountain shaping in Goose Mountain. The director combines the traditional ink painting technique of “Cunfa (皴法),” Western sketching, the characteristics of the French Left Bank cinema movement, and the theory of “Breaking the Fourth Wall” to portray the characters. In doing so, Goose Mountain inherits the tradition of the “Chinese Animation School” while adapting to the development of the digital age, embracing Western film and animation techniques, and reflecting the creative ideology of “using Chinese essence with Western methods.” Through this ideology, Goose Mountain maintains the unique traditional aesthetics of Chinese ink animation—“the integration of virtual and real (虚实相生)”—while achieving a strong visual effect. As a result, Goose Mountain balances various artistic styles, reflecting the modern human condition of “worrying about gain and loss before obtaining something, and worrying about losing it after obtaining it.” Ultimately, it conveys the lesson that “life is like a rootless plant, drifting like dust on the road.” Based on this theme, this paper presents a viable visual strategy for the modern entertainment market while inheriting the culture of traditional Chinese ink painting.