Chen Hailu; translated by Yixing Li From 1961 to 1988, Chinese animators at the Shanghai Animation Film Studio produced four traditional ink-painting animated films, winning numerous accolades at home and abroad. No new ink-painting animation had been produced since 1989. It was not until 2003 that ink-painting animation resurfaced in China with the production of … Continue reading CGI Ink-Painting Animation in Contemporary China, 1989-2019
Peng-yi Tai Puppets, Gods, and Brands: Theorizing the Age of Animation from Taiwanis a truly unconventional book about animation. It is unconventional not because it is so deeply interdisciplinary, ranging from religion, film and media studies, psychoanalysis, sociology, to East Asian studies, but because it is essentially an anthropology of animation. Rather than discussing any … Continue reading Puppets, Gods, and Brands: Theorizing the Age of Animation from Taiwan, by Teri Silvio. Honolulu: University of Hawai’i Press, 2019. 270 pp.
Nick Stember Published in May 1980 by the Shanghai Fine Arts Press, Fellow Ants, Please Be Aware!is a 46 page long, full color lianhuanhua (linked pictures) with an initial print run of 400,000. While traditional narratological analysis (as exemplified by Vladimir Propp) is perhaps difficult to apply to this story given the distinct cultural and … Continue reading Narratological Analysis of Fellow Ants, Please Be Aware!
Ling Zhang The extraordinary commercial success of recent Chinese animated films such as Monkey King: Hero is Back (2015), White Snake (2019), and Nezha: Birth of the Demon Child (2019) has rekindled the domestic Chinese audience’s interest in Chinese animation, and has also attracted considerable attention from both popular media and academia. However, these animations … Continue reading Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s, by Daisy Yan Du. Honolulu: University of Hawai’i Press, 2019. 276 pp.
Rebecca Scott Lianhuanhua, while varying in size and format are generally palm-sized serial picture stories which emerged in China’s cities, particularly Shanghai during the Republican period and by 1949 were a ubiquitous form of urban-based popular culture read by adults and children alike. While comic publication boomed in the 1950s and 1960s, as the medium … Continue reading A Literature Review: Lianhuanhua
Weihua Wu Mainland China has been enjoying a renewed appreciation for animation—one that links cyberspace with the box-office, and that extends far beyond the categories of children’s “donghua” or “meishu film.” The problems encountered by Chinese animation during the past 30 years has been the unnegotiated conflicts between the marketization of Chinese animation filmmaking and the … Continue reading Can We Talk about the Rejuvenation of Chinese Animation?
Lawrence Zi-Qiao Yang Edited by film and media scholars Li Guo and Jinying Li, the two special issues of the Journal of Chinese Cinemas—Animating Chinese Cinemas I and II—not only mark an important milestone in the study of Chinese animation but also point toward a series of historical, theoretical, and methodological questions central to the past … Continue reading Review of Animating Chinese Cinemas I & II (Special Issues of the Journal of Chinese Cinemas), edited by Li Guo & Jinying Li, 2017.
Winnie Fu Hong Kong animation has a unique path of development, which contributed to its scattered but significant achievements in the past 50-odd years. Its multifaceted developments are linked to the dedication—even obsession—of a group of motivated animators who had successfully created world-acclaimed productions and continue to add to Hong Kong’s list of missions impossible … Continue reading Hong Kong Animation History Revisited
Download PDF Isabel Galwey In the first two decades of the twentieth century, animation in Mainland China (and, indeed, the world over) has seen a remarkable efflorescence, as advances in digital technology and diversification of viewing platforms have allowed for an unsettled, shifting multiplicity of animated expression. Through examining the work of several contemporary Chinese … Continue reading The Urban Fringes of Contemporary Chinese Animation
Daisy Yan Du American animated films, such as the Out of the Inkwell series (1918-1929), were first introduced to Shanghai around the late 1910s and early 1920s, at a time when warlords had plunged China into wars and chaos. Usually screened before a live-action film, animated films were often called moving shadow plays (huodong yingxi), … Continue reading Katong, Meishupian, and Donghua: On Terms of Chinese Animation