古典文学改编为动画作品在中国动画史上占有重要的位置,自中国第一部动画长片《铁扇公主》诞生以来,在中国美术电影的“民族化”历程中,中国古典文学成为影片创作的重要题材来源。新世纪以来,文化全球化的语境下,虽然动画作品题材的内涵和外延扩大了,题材来源也愈加广泛,但取材于中国古典文学的作品诸如《神笔马良》、《我的师父姜子牙》和《钟馗外传》等却并未远离观众的视线。从剧作角度看,在外来文化的冲击下,中国动画电影剧作离社会生活、时代精神的现实指向性越来越远。剖析1940—2000年间的中国传统古典题材动画电影剧作特色,对时下动画剧本创作有一定的指导意义。早在欧美动画传入中国、民族动画蹒跚学步时期,中国动 Since the birth of the first animated feature film Iron Princess in China, the adaptation of classical literature to animated works occupies an important position in the history of Chinese animation. In the process of “nationalization” of Chinese art films, Chinese classical literature has become a movie An important source of creation. Since the beginning of the new century, under the context of cultural globalization, although the connotation and extension of the themes of animation works have expanded and the sources of the themes have become more and more widespread, based on the works of Chinese classical literature such as “Ma Liang,” “My Master Jiang Zi Ya” And “Zhong Kui Gaiden” but did not stay away from the audience’s attention. From the drama point of view, under the impact of the foreign culture, the Chinese animated movie play is far from the social reality and the reality of the spirit of the times. Anatomy of the characteristics of the traditional animated movie plays of Chinese traditional themes from 1940 to 2000 has some guiding significance for the contemporary animation script creation. As early as the introduction of European and American animation in China, national animation toddler, China move