Dating back to the mid 19th century in China (Quing dynasty), the wan brothers or more preferably as Wan Laming and Wan Guchan, were animators that living in times of war with the japanese. Due to the condition of China and all of its war fare, animation was not heavily focused on for entertainment, but as a resource of propaganda and motivational warfare. Their first animation, “Uproar in the Art Studio”, was what they got known for when they were working at the Great Wall Film Company. The animation is currently lost and it ran from 10-12 minutes in black and white film. During war times this became a very heavy topic for them since most of their work ensembles back to warfare.
When the japanese invaded Shanghai, China of 13 August, 1937, filmmakers were all in hiding at Wuhan. These current events inspired many productions of film and animations like the Manifesto of the War of Resistance which incorporated some western animation like some of Fleischer’s themes. There animations always pre sieved as the chinese being the ultimate super humans able to do anything. This in fact gave a lot of hype during the late late 1930’s. In the animation ,Havoc in Heaven, it showed a monkey king trying to teach his students how to fight but doesn’t have the proper weapon to display the attack. He then takes heed to go out and see the dragon lord to ask for a new and stronger weapon. After the rejections of many weapons there was one last weapon the dragon king had but he warned the monkey king that this particular weapon was too heavy and to powerful. As the dragons guards gave the monkey king the weapon, he carried is with ease as if he were carrying a feather. This gave some inside that the chinese were these super human war machines able to lift and do almost anything.
After the war, Shanghai studio was closed and most filmmakers were sent to educational camps till 1972. Till that time, the studio was already at a great lead to a good amount of animations that explained about the aftermath of the war and seeing the future for one of the animations “One Hundred Flowers‘”.Most animations now consisted of old folk tales from the past and stories taken from shadow puppet shows which was how stories were originated.
Now during the 1940’s of Japan, they were undergoing reconstruction during and after there warfare with China. Most of the animations done back then had a familiar Walt Disney style but in a weird and creepy way, made it there own. What I mean by that was the familiarity in facial features within everyone even the animals, right down to the eyes to the ears. There animations told of praising war veterans and veterans that were out to war. Sometimes they would have veterans returning back home and telling there stories.
Animation in Latin America wasn’t as big as it was in America. Quirino Cristiani, is a animation director and cartoonist born and raised in Santa Giuletta, Italy, was the first man responsible for the first two animated feature films and one that first incorporated sound. He was the first person to create animation only with cardboard cutouts. After him there weren’t a lot of animators in Argentina working on big projects till Juan Olivia, who was a painter and comic strip artist born and raised in Barcelona of August 1910, went to Argentina in 1930 and was fascinated in Cristiani’s past work. He then tried to create animations of his own style and created some of the first animations with diversity in it. Most animations done in Latin America were based upon rebellious actions, and stories of their culture. During those time they soon began to produce their own form of propaganda in order to get the Latin Americans recruit for war. This was actually very affective since it showed a lot of well hidden subliminal messages and great imagery when they were going to recruit.