水墨动画片是上海美术电影制片厂于60年代初试制成功的片种。一般动画人物的造型，都是采用"单线平涂"，而水墨动画片却具有中国民族绘画的优良传统，即水墨画的特点。人物造型既没有边缘线，又不是平涂，在影片上表现出毛笔画在宣纸上的效果。水墨动画片为中国电影艺术实现民族化、群众化，开辟了一条新道路。

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

n the 20th century, no artistic medium in North America with so much potential for creative expression has had a more turbulent history plagued with less respect than comic books. Through animated montages, readings and interviews, this film guides us through the history of the medium from the late 1930s and 1940s with the first explosion of popularity with the superheroes created by great talents like Jack Kirby and hitting its first artistic zenith with Will Eisner's "Spirit". It then shifts to the post war comics world with the rising popularity of crime and horror comics, especially those published by EC Comics under the editorshiop of William B. Gaines until it came crashing down the rise of censorship with the imposition of the Comics Code. In its wake of the devastation of the medium's creative freedom, we also explore EC's defiant survival with the creation of the singular "Mad Magazine" by Harvey Kurtzman. We then move to the resurgence of the superheroes in the late 1950's and 1960's typified with the rise of the dramatically innovative Marvel Comics edited by Stan Lee. Still more important is the rise of the the gleefully uninhibited underground comics created by eccentric talents like Robert Crumb and Dan O'Neill. These leads to profiles of creaters like Harvey Pekar who take the medium into new directions of expression. In the late 1970s and '80s we see the rise of alternative comics with such bold talents like Jaime Hernández for "Love and Rockets, Sue Coe for How to Commit Suicide in South Africa and especially for Art Spiegelman for his searing Pulitizer Prize winning Holocaust account, Maus. Finally, we learn of the medium's superhero mythos' revitalizing moment with the creation of Frank Miller's ferocious min-series "Batman: The Dark Knight Returns". Taken together, the film makes its arguement that the medium is far more than the stereotype of juvenile trash but rather it is an artform with a wild history and an exciting future.

四年磨砺，一朝圆梦。 他们有很多很多的奇思妙趣想要说给你听。 365个日夜的心血，无数帧的细细打磨。 从设计、原画到动画、剪辑，终于他们真诚勇敢地交出了自己。 中国传媒大学动画学子诚挚地邀你赴这一场名为“青春”的盛宴。

四年磨砺，一朝圆梦。 他们有很多很多的奇思妙趣想要说给你听。 365个日夜的心血，无数帧的细细打磨。 从设计、原画到动画、剪辑，终于他们真诚勇敢地交出了自己。 中国传媒大学动画学子诚挚地邀你赴这一场名为“青春”的盛宴。

阿狸，卡通形象，由清华大学美术学院视觉传达专业硕士学位毕业的徐瀚Hans所创作，其形象为一只穿着白色短裤的、红色的小狐狸。 目前，阿狸的童话、壁纸、四格漫画、QQ表情、动画已推出，并在不断更新中。

阿狸，卡通形象，由清华大学美术学院视觉传达专业硕士学位毕业的徐瀚Hans所创作，其形象为一只穿着白色短裤的、红色的小狐狸。 目前，阿狸的童话、壁纸、四格漫画、QQ表情、动画已推出，并在不断更新中。

本作改编自直木奖作家辻村深月同名小说，故事围绕两对导演和制作人的竞争展开，描绘了日本动画业界激烈竞争的热血故事。共演有中村伦也、柄本佑、尾野真…

影片讲的是一个美若天使的小男孩儿Owen, 活泼可爱，每天叽叽喳喳说个不停，大人和小朋友都喜欢他。可是就在他三岁的某一天，小Owen 突然不说话了，大人们无论如何与他沟通，他都像没听见，好像进了自己的一个小房子，并且关上了门不肯出来。Owen的爸爸妈妈都急疯了，不知道发生了什么事。在看过很多医生后，小Owen被诊断为“自闭症”。因为爸爸妈妈没有办法和小OWEN交流，他们痛苦极了，眼睁睁地看着小OWEN像个走丢了的孩子在自己眼前四处游荡，可无论他们如何呼唤他，小OWEN就是听不见，就是一言不发，每天无声地坐在电视前看Disney动画。 　　突然有一天，Owen的爸爸听到Owen大叫了一声，这让很久没有听到Owen任何声音的家人兴奋无比，好像在黑暗中行走突然看到了明亮的灯塔。小Owen不停地叫着一个词，大家都听不明白，都努力想知道他的意思，好像听到小Owen从他的世界里发出的求救信号。终于，Owen爸爸想起这个声音是从一个Disney动画里发出的，而且是一个小动物的声音。聪明而又用心的Owen爸爸兴奋极了，好像找到了打开小Owen新世界的钥匙。他把自己扮作那个小动物，并以那个小动物的方式和Owen说话，没想到Owen的脸上顿时有了笑容，也开始以动画片中的另外一个小动物的身份和“鸟”爸爸说话。原来，Owen把自己关进的那个叫“自闭”的小房子，就是Disney的动画世界！！ 　　从此，Owen的家人开始以Disney动画里的角色和OWEN说话，并且渐渐地把他带进了现实生活，带回家人朋友中间。Owen长大了，长成了英俊温暖有趣儿的帅哥。他开始学习自立，包括找工作、谈恋爱、自己一个人住。他还成立了动画俱乐部，帮助和他一样的小朋友。

心霊・オカルト・グロテスク・暴力・狂気・猟奇的事件･･･ 　　カメラがとらえてしまった戦慄の映像！ 　　監修　児玉和土（『ほんとにあった！呪いのビデオ21〜42』構成・演出、『封印映像１〜６』監修） 　　【収録映像解説】 　　◯晩夏の夜に招く者 　　夏の川辺で花火を楽しんでいたカップル。しかし何者かの気配がし、それをたどると驚愕の事態に...。その川はある未解決事件の現場であるというのだが･･･。 　　◯通りすがりの女 　　夏の川辺で花火を楽しんでいたカップル。しかし何者かの気配がし、それをたどるとアルバイト仲間と車で遊びに行った映像提供者は不可解な女性を車に乗せてしまう。まさかそ'れが悲劇の原因だったのか？ 　　◯墓参り代行 　　便利屋にとって墓参り代行は珍しくない仕事だという。だが奇妙なことにそのときは深夜２時限定ですべてを映像に記録することが義務づけられていたという･･･。 　　◯五目ならべ 　　今は懐かしいハイエイトビデオカメラで撮影された、ホームビデオの映像。しかし休暇を楽しむ家族の間に異形の人物が出現し･･･。 　　◯復讐 　　非合法組織が撮影したものなのか...。男性たちが怯える女性に薬物を無理矢理に飲ませる。そして彼らは女性に白装束を着せると刃物を･･･。究極のショック映像！