**Interview with Renowned Swiss Animator Georges Schwizgebel: Cultural Exchange Bridges Understanding of China**
**By Pei Xinyu and An Yingzhao**
As we delve into the evolution of Chinese animation, it unfolds a dynamic journey enriched by technological advancements, cultural preservation, and innovation. Chinese animation has effectively broken through linguistic and cultural barriers, serving as a conduit for cultural exchange through its vibrant use of color and light.
In commemoration of the 75th anniversary of the People’s Republic of China, we had the pleasure of chatting with the esteemed Swiss experimental animator Georges Schwizgebel, who recently received the Lifetime Achievement Award at the Annecy International Animation Film Festival. Our discussion focused on how decades of artistic exchange have expanded the global appreciation and comprehension of Chinese animation.
**Reporter:** Have you followed the Chinese animation scene over the years? Are there any particular works or trends that have made a lasting impression on you?
**Georges Schwizgebel:** My connection to China goes back quite some time. This ancient and fascinating country has always captivated me, and I’ve dreamt of experiencing life there since my youth. I met the Chinese animator Xu Jingda at the Annecy International Animation Festival while serving as jury members. Interestingly, in 1982, his film *Three Monks* and my work *Le Ravissement de Frank N. Stein* both won awards at the Berlin International Film Festival.
After studying Chinese for two years at the University of Geneva, I was fortunate enough to receive a Swiss government scholarship in 1983 to study classical Chinese literature at Fudan University. That experience deepened my love for traditional Chinese culture and led me to explore various aspects, including literature, painting, calligraphy, opera, film, and architecture.
I have a special appreciation for animated films produced by the Shanghai Animation Film Studio, particularly *The Monkey King*. This film elegantly combines elements from ancient Chinese wall paintings, shadow puppetry, New Year pictures, and door paintings. The character designs are influenced by Peking Opera art, and the movement reflects its essence, showcasing a distinctive Chinese artistic style.
Other notable works, like *Little Tadpole Looks for Mom* and *The Clam and the Heron*, utilize unique Chinese ink wash techniques, while *The Nine-Colored Deer* exhibits a rich visual style. *The Donkey’s Lift* incorporates folk paper-cutting art, and *Three Monks* conveys deep philosophical concepts rooted in Chinese culture. These films not only spotlight the artistic traits of traditional Chinese culture but also possess a unique charm.
**Reporter:** Has Chinese culture had an influence on your animation work?
**Georges Schwizgebel:** While in China, I discovered the exquisite illustrations of Feng Zikai, and I’ve always held Liu Zongyuan, a master from the Tang and Song dynasties, in high regard. Upon returning home, I adapted Liu’s fable *The Moose by the River* into an animated short entitled *Année du daim (Year of the Deer)*, which garnered numerous accolades at international film festivals. It tells the story of a yellow deer suffering from Stockholm syndrome, forced by its owner to befriend a dog. The story reflects on how good intentions can sometimes lead to unintended harm.
Many of my other works are similarly inspired by Chinese culture. For instance, *The Man without Shadow* draws from shadow puppetry. In this film, a man loses his shadow following a failed deal with a devil and embarks on a journey to rediscover himself, ultimately returning to China, where he finds redemption in the ancient art of shadow puppetry. The visuals incorporate elements of Chinese painting while blending in Western styles, earning it recognition at several festivals.
My experience studying in China has profoundly influenced my work, and many elements from that culture have made their way into my creations almost unconsciously.
**Reporter:** What’s your perspective on the development of Chinese animation?
**Georges Schwizgebel:** During the 1980s, while studying in Shanghai, I rode my bike around the city capturing footage and sounds, which led to a short film titled *Nakounine*, named after the Shanghai dialect word for “foreigner” that I often heard. When I returned to shoot again 40 years later, I was astonished by the drastic changes in Shanghai; the landscapes I remembered were unrecognizable. Integrating this new footage into the film’s conclusion significantly enhanced its visual impact.
Chinese animation boasts a long history and rich traditions, particularly evident during the golden age of the Chinese animation school, which produced many outstanding shorts. In recent years, the industry has generated numerous remarkable works, embracing new technologies that present exciting possibilities for animation. Many Chinese productions have gained international acclaim, drawing significant attention and praise.
However, the rise of digital technology also poses a risk of homogenization within animation. With the prevalence of 3D techniques, it becomes increasingly difficult to differentiate an artist’s personal style, leading to a uniform visual appearance across many animated films. It’s vital to include original styles that reflect a particular country or region.
When it comes to literary adaptations, a game like *Black Myth: Wukong*, which showcases stunning animation, exemplifies how to innovatively express Chinese culture. Such works delve deep into traditional Chinese culture, artfully blending modern aesthetics and inventive elements. The musical scores accompanying these animations enrich the experience and shine as classics, extending beyond the realm of independent animation.
In China, painting is highly regarded as an art form, which explains the abundance of exceptional artists. The global success of Chinese animated works illustrates the thriving state of the country’s animation landscape and the unique allure and profound heritage of Chinese culture.
**Reporter:** In your view, what role can animation play in the global dissemination of cultural exchange?
**Georges Schwizgebel:** Animation serves as an effective medium for conveying ideas, similar to a poster. A key advantage of animated films over live-action is their ability to harness the aesthetics of painting, utilizing local cultural inspirations to express complex emotions.
During my time at Fudan University, I connected with numerous directors from the Shanghai Animation Film Studio through Xu. In 1987, inspired by American director David Ehrlich, I co-directed a film titled *Academy Leader Variations* alongside 20 directors from Switzerland, the US, Poland, and China, which won the Jury Prize for Best Short Film at the Cannes Film Festival.
In terms of cultural exchange, animation acts as a “messenger” that transcends borders, delivering a profound and widespread impact. Unique national beliefs and cultural legacies give rise to distinct animated works. Despite varying styles and themes, these creations collectively express a shared yearning for beauty, making animation a bridge that connects hearts.
A truly outstanding animated film has the ability to touch the deepest parts of the human spirit. It provides not just visual pleasure but also fosters an uplifting perspective on life and an enduring hope for a brighter future. This cultural exchange enriches global culture, making the landscape of human civilization all the more vibrant.
**Reporter:** Are there any upcoming collaboration plans with the Chinese animation industry?
**Georges Schwizgebel:** I’ve consistently followed and supported the Chinese animation industry, serving as a jury member for the inaugural Shanghai International Animation Film Festival in 1988, chairing the animation jury for the Shanghai International Film Festival in 2016, and participating in other juries for Chinese film festivals. Currently, I’m a distinguished professor at the Beijing Film Academy, where I regularly visit to share my creative insights with students.
In fact, at the end of this October, I’ll be hosting another workshop at the Beijing Film Academy and participating in the evaluation of the Beijing Film Academy Awards, where we’ll discuss potential collaborative projects as well.
Currently, animation design is a trendy and innovative field that plays an increasingly pivotal role in the global cultural industry. Experimental animated shorts, characterized by their artistic quality, are smaller productions with relatively low costs, making them well-suited for educational sectors in animation.
As new technologies continue emerging, the potential of animation keeps expanding. As renowned director Akira Kurosawa once said, “Art knows no borders,” and this sentiment especially rings true for animated films.
