The Straw Man Shangai Animation Studio, 198

On a visit to Shanghai, China's enduring leader Deng Xiaoping offered the concept that, it doesn't matter if a cat is black or white, the important thing is that it can catch mice. No, Deng was not making a reference to Inspector Black Cat, one of the most popular cartoon characters on Chinese television. Deng's cat was meant to symbolize the birth of a new China, a China that would once again allow trade and investment, and a limited flow of ideas from the capitalist West.

Today, Shanghai is undergoing a rebirth. Back in the early1920s, the salons, galleries and clubs of Berlin, New York and Paris found their parallels in Shanghai. The city was cosmopolitan, sophisticated -- a gathering place for artists, intellectuals and business tycoons. And with its movie studios, Shanghai was also considered the Hollywood of China.

In recent years, European animation studios were the first to use the resources of the local Chinese animation industry, with the Americans lagging somewhat behind. In dealing with Western companies, though, apprehension soon turned to aversion. An economy and culture that had focused inward created obstacles for China's producers to meet the realities of dealing with overseas markets. Chairman Mao meant more than Mickey Mouse; work was allocated, not chosen.

Happy numbers Shangai Animation Studio, 1984

For over 30 years, Chinese production was driven by a central authority and focused on producing material primarily for the domestic market. Now, in dealing with foreign producers, they were faced with production schedules based mainly on economic demands. Studios in China failed to meet deadlines and the animation did not meet Western standards.

Julie Reinganum and Philip Jhin, cofounders of Prrfect Animation, experienced China hands with over 15 years of creating business on the ground in China, nevertheless saw the potential for producing animation in Shanghai.

The question remained as to how best to utilize the talent and economic advantages offered by doing animation in China, given the problems of differing artistic styles, unreliable studios and an unpredictable political environment.

Reinganum and Jhin's answer: Communication. In 1992, San Francisco-based Prrtfect Animation, entered into a cooperative relationship with Shanghai Animation Studio, China's oldest animation studio. (It dates back to 1949, before Mao Tse-tung had taken control of China.) For its part, Prrfect provided the management and artistic oversight of a Western staff on the ground in Shanghai, complemented by its headquarters staff in San Francisco. By blending Western management and artistic direction with an existing Chinese studio, Prrfect was gradually able to turn out animation that met the demands of Western audiences and producers, while costs remained lower than in other parts of Asia.