Let's make an analogy first. When people go to the market to buy food, they suddenly find that all the dishes are vegetables, and they can no longer see pork for sale. Isn't that ridiculous? Television stations can be impulsively controlled to broadcast domestic animation or overseas animation, but the choice is in the hands of teenagers. If you can't see it on TV, buy a DVD, because you can't live without classic foreign animation. Not letting children watch it is to sacrifice their entertainment rights in the name of growing up. Can domestic cartoons kill deus ex? Difficult. At present, the gap between domestic animation and American and Japanese animation industry is not generally large, but very large. The level of pre-planning, post-development, packaging and promotion of domestic animation is not good, and the production cost is high, while the purchase price of TV stations is surprisingly low. If the relationship between supply and demand in the market remains unchanged, the fate of domestic animation can not be changed by shouting slogans and banning. Nowadays, children keep silent about "Altman" and "Nemo". This strange "cultural invasion" needs reflection. Today, American and Japanese animation has created many classic images that are deeply rooted in people's hearts and has become a cultural industry. For example, the export volume of Japanese animation is already four times that of its steel industry. The leaders and participants of our "animation industry" are eager to replicate this miracle, but they really don't understand the hearts of young people. Many educators have made things that few children like to see. Domestic animation can't develop because of the positioning problem of animation. They position the audience of animation at young children, and think that animation must be entertaining and entertaining. In a progressive sense, "entertaining through education" may help domestic animation avoid the wave of Japanese animation and become poisonous weeds and spiritual opium. But children are often unwilling to accept the "teaching" recognized by the mainstream society. The reason why Xiao Xin and Altman can win recognition is that the spirit of personal struggle expressed in foreign cartoons coincides with the needs of human nature and has the charm of transcending national boundaries. Domestic animation must learn from it, incorporate the spirit of struggle and clarify emotional factors such as love and hate. Children's world is not a pure vacuum, so-called "violence" and "feelings" are inevitable in childhood. It is good to convey the truth in words, but only by transforming obedient domestic animation into self-improvement animation can we meet the real needs of children in China. The closed-door policy in Ming and Qing dynasties caused endless harm and lost many opportunities to be on an equal footing with other countries in the world. Now, we must not exclude foreign excellent cultural genes in the name of protecting the development of our own cultural industry. In today's globalized world, the world is so small that the connection permeates all directions. The so-called "domestic" and "imported" only make sense in contrast and collision, and there is absolutely no reason to isolate themselves.