内容来源是动画片创作的源泉。如何合理艺术地发掘运用这些资源,是中国动画片走出低谷、走向世界的创作基础。本期“动漫艺苑”栏目刊登的徐海龙、莫瓅撰写的《无形与有形》一文,就“中国动画片的内容来源分类”进行了较细致的分析界定,并通过引述一些动画片创作经验,论述了对“有形来源”和“无形来源”内容资源的成功运用案例,对于当下中国动画片创作拓展思路、深入开掘题材资源不无裨益。 Content source is the source of animation creation. How to explore and utilize these resources with reasonable art is the basis for the creation of Chinese cartoons out of the trough and into the world. In this issue of “Animation Arts Court” published by Xu Hailong and Mo Zhi, the article entitled “Invisible and Tangible” is a detailed analysis and definition of the “content source category of Chinese animation”, and by quoting some animations Film creation experience, discusses the successful application of “tangible source” and “intangible source” content resources. It is not help to explore the current Chinese cartoon creation and dig deep into the subject matter resources.