ABSTRACT Puppet animation was one of the key forms of animation at Shanghai meishu dianying zhipianchang and would remain so until the late 1970s transition into television. One of the most important puppet animators at the studio, Jin Xi 靳夕, contributed to approximately 23 productions, including features, shorts, and a television series. Jin Xi's animation theory, partially derived from poetics, represents some of the most sophisticated discussion of animation in the Chinese language. The employment of three-dimensional volume, texture, lighting and space in puppet animation more closely resembles three-dimensional computer animation than other animation forms. Jin Xi's last film, Xiyue qitong/Saving Mother, 1984, is tacitly the first episode of a film based on a folk story about Chenxiang, a rebellious boy-god who travels through a series of adventures to save his mother, magically trapped beneath a mountain. Chenxiang references both the national style and the house style of an earlier SAFS character, Nezha. Jin Xi's episode is a complete, self-contained example of episodic storytelling that showcases miniature landscapes, superb use of stop-motion, well-rounded characterizations and, most significantly, a non-idealized, post-revolutionary hero-protagonist.

中文翻译：

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金熙：木偶动画大师

摘要人偶动画是上海梅树电影电视影集场的主要动画形式之一，并且一直保持到1970年代后期过渡到电视。该工作室中最重要的人偶动画师之一Jin Xi靳夕参与了大约23部作品的制作，包括剧情，短裤和电视连续剧。金熙的动画理论部分源于诗学，它代表了一些最复杂的中文动画讨论。木偶动画中三维空间，纹理，光照和空间的使用比其他动画形式更类似于三维计算机动画。金熙的最后一部电影是1984年的《西岳奇童》，这是一部根据陈香的民间故事改编的电影的第一集，一个叛逆的男孩神，他经历了一系列冒险以拯救他的母亲，被魔法困在了山下。Chenxiang引用了SAFS早期角色Nezha的民族风格和房屋风格。Jin Xi的剧集是一个完整的，自成一体的情节叙事示例，展示了微型风景，对定格动画的出色使用，全面的刻画，而且最重要的是，非理想化的后革命英雄主角。