Narratological Analysis of Fellow Ants, Please Be Aware!

By 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 … Continue reading Narratological Analysis of Fellow Ants, Please Be Aware!

A Literature Review: Lianhuanhua

By 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 … Continue reading A Literature Review: Lianhuanhua

Can We Talk about the Rejuvenation of Chinese Animation?

By 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 … Continue reading Can We Talk about the Rejuvenation of Chinese Animation?

Hong Kong Animation History Revisited

By 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 … Continue reading Hong Kong Animation History Revisited

Katong, Meishupian, and Donghua: On Terms of Chinese Animation

By 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 … Continue reading Katong, Meishupian, and Donghua: On Terms of Chinese Animation

On the Future of Cartoons (Eileen Chang, 1937)

By Eileen Chang; translated by Panpan Yang The word “cartoon” has a history of less than ten years in China. However, probably all moviegoers know Walt Disney’s Mickey Mouse. “Cartoon” originally referred to all single-panel satirical comics, newsreel comics, life comics, serial comics and so on, but the kind of cartoon I want to talk … Continue reading On the Future of Cartoons (Eileen Chang, 1937)

Towards a Eurasian Model of Animated Filmmaking

By Rolf Giesen The Cartoon Forum is a yearly event organized by Cartoon Brussels that brings together TV animation producers from all over Europe to Toulouse, France. Although you will see a variety of incredible work at the Cartoon Forum, the sad truth is that TV is no longer the partner for animation it once … Continue reading Towards a Eurasian Model of Animated Filmmaking

Compositing Japanese Imperialism in Two Chinese Animated Features: A Jewish Girl in Shanghai and Xi Bai Po 2: Wang Er Xiao

Download PDF By Sean Metzger Many years ago, I published an article on Disney’s Mulan (1998), of which I am frequently reminded by the warblers on UCLA’s campus. A mainstay of karaoke events in the residence halls, the music of Mulan continues to serve as a reference point for many US-based youth. I overhear excerpts … Continue reading Compositing Japanese Imperialism in Two Chinese Animated Features: A Jewish Girl in Shanghai and Xi Bai Po 2: Wang Er Xiao