Lecture Theater (G/F), Institute for Advanced Study, Lee Shau Kee Campus, HKUST May 10 (Sunday) 4:00-7:00pm: Registration at the Lobby of Conference Lodge, Lee Shau Kee Campus May 11 (Monday) 8:00-8:50am: Registration at the Lobby of Conference Lodge, Lee Shau Kee Campus 9:00-10:50am: Keynote Speeches, chaired by Daisy Yan Du, Hong Kong University of Science … Continue reading Conference Program: The Inaugural Conference of the Association for Chinese Animation Studies, May 11-14, 2020
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.
Linda C. Zhang In 1958, the Shanghai Animation Film Studio released a 35-minute, color, stop-motion puppet animation film, Mountain of Flames (Huoyan shan), directed by Jin Xi. The movie retold a familiar episode from the novel Journey to the West, where Sun Wukong – the Monkey King – must try three successive times to borrow … Continue reading “Our Comrade Sun Wukong”: On Fantasy and Exaggeration in Mountain of Flames
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.
Dai Tielang, widely known as the “father” of Police Chief Black Cat (Heimao jingzhang, TV animation series, 1984-1987), passed away at 7:25pm on September 4, 2019 at the age of 89. Dai was born in Singapore in 1930. He graduated from the Animation Department of the Beijing Film Academy in 1953 and joined the Shanghai Animation … Continue reading Dai Tielang (1930-2019) Passed Away on September 4, 2019
The event will be held at the School of Creative Media, City University of Hong Kong (address: Run Run Shaw Creative Media Centre, 18 Tat Hong Avenue, Kowloon Tong, 852 Kowloon, Hong Kong). Speakers: Peter Benz (Baptist University, Hong Kong) Verina Gfader (University of Applied Arts, Vienna / Animate Assembly, London) Max Hattler (School of … Continue reading Experimental Animation and the Bauhaus Legacy, 9am-6pm, 14 Sep, 2019, Hong Kong
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
Liang Luo The 2019 animated film White Snake: Origins (Baishe yuanqi), co-produced by Beijing-based Light Chaser Animation and Warner Bros., premiered on January 11 throughout China. It opens with an innovative, hybrid style of ink-painting 3D animation. In the one-minute opening sequence, two snakes who have transformed into beautiful women, White Snake and Green Snake, … Continue reading Queering an Icon, Becoming a Demon: A Review of White Snake: Origins