"Farmers' Joy" is a 1940 anti-Japanese war propaganda animated film personally written and directed by Qian Jiajun, who led over twenty young art enthusiasts from an animation training class in its year-long creation and production. In 1937, Qian Jiajun relocated with his work unit to the rear areas, successively creating nearly a hundred large-scale gouache, oil painting, and slide抗日宣传画 (anti-Japanese propaganda posters) in cities such as Hankou, Chongqing, and Kunming. Simultaneously, he consistently sought a propaganda format with greater impact than typical art propaganda works to awaken his compatriots' patriotic fervor. Thus, he, along with Fan Jingxiang, Jin Youchang, Yang Zushu, Yuan Xianzhi, Wan Hao, and others, participated in creating the anti-Japanese themed animated short "Farmers' Joy". The film tells the story of a rich and beautiful rural homeland occupied by Japanese invaders. While the men have gone to the front lines to fight, three generations—a grandfather, his daughter, and grandson—use various ingenious methods to repel the Japanese soldiers, restoring the countryside to its former state. Released during the arduous years of the War of Resistance, the film attracted a large audience. Newspapers in Shanghai and even the Nanyang (Southeast Asia) region published articles praising it, playing a certain role in promoting anti-Japanese patriotism. During the creation of "Farmers' Joy", differing opinions emerged within the team. The disagreements stemmed partly from insufficient funding and partly from a lack of cohesion within Qian Jiajun's core team, requiring him to handle all matters personally. In Mr. Bi Yisheng's oral account, he repeatedly stated that "Farmers' Joy" was, in essence, "completed by Qian Jiajun alone," with "scene design, character modeling, animation, and key animation all handled single-handedly by Qian Jiajun." Others could only serve as "minimal assistants" because they "couldn't get involved," yet he also emphasized that he, Fan Jingxiang, and Jin Youchang possessed excellent painting skills. During the animation creation, represented by Fan Jingxiang, they hoped to use reference footage for the animation, but this was vetoed by Qian Jiajun due to funding constraints. Consequently, as Fan Jingxiang described, the "Farmers' Joy" team formed "a core led by Qian Jiajun, supported by Yang and myself, and after several twists and turns, became a strong yet loosely-knit crew." They would only "drop their brushes and come to assist" when "Qian Jiajun urgently needed help." The value of "Farmers' Joy" in the history of Chinese animation and film cannot be underestimated. First, it was the first officially produced narrative animated film by the Nationalist Government, funded by the government, with creators belonging to government establishments, and filmed at the Central Motion Picture Studio, an official institution of the Republic of China government. Second, "Farmers' Joy" directly supported the War of Resistance, featuring a storyline of Chinese people resisting Japanese aggressors. It was a work through which Chinese artists expressed resistance, conveyed patriotic sentiment, and pursued national liberation via animation. To expand the influence of China's War of Resistance, "Farmers' Joy" was distributed domestically and internationally, "screened in the rear areas and various parts of Southeast Asia during the War of Resistance, serving a propaganda role." Third, the sound animated film "Farmers' Joy" was relatively successful artistically. Its creators were all professional art workers with higher art education. After its public release, it caused a sensation in the wartime capital and was screened at official important events attended by Chiang Kai-shek and other high-ranking Nationalist Government officials. Fourth, the animation production technology and some equipment for "Farmers' Joy" were independently developed, with its writer-director Qian Jiajun achieving his own breakthroughs in animation technique. Fifth, for the history of Chinese animation development, the success of "Farmers' Joy" encouraged and cultivated a group of animation talents and facilitated the introduction of animation education into colleges and universities during the War of Resistance. The success of "Farmers' Joy" gave Qian Jiajun great confidence and many opportunities. Advocated by Qian Jiajun and his students, China's first animation academic institution—the Chinese Animation Society—was established in 1943 at the Shengsheng Garden in Chongqing. Luo Yiwei, a student of Qian Jiajun, initiated the establishment of the Nanguo Animation Art Institute after the war, using "Farmers' Joy" as a teaching model. The production experience and talent cultivation model of "Farmers' Joy" were brought by Qian Jiajun to the Animation Department of the Suzhou "Meizhuan" (Art College) and later to the Animation Department of the Beijing Film Academy. Many of its graduates