Yan Shuchen; translated by Eva Chang (Panel Chair) Yan Shuchen is the son of Teacher Yan Shanchun. He graduated from the Shanghai University of Political Science and Law in 1990. From 1990 to 1993, Yan Shuchen worked at the People’s Procuratorate in the Jing’an District of Shanghai. Since 1993, he has been working in the … Continue reading Childhood Memories: Chinese Animation and the Shanghai Animation Film Studio from the Eyes of an Animator’s Son
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
Download PDF Yan Chen Since 2004, the Chinese government has been gradually implementing various policies to support the development of a domestic dongman industry. The year 2016 marked the 90th anniversary of Chinese animation, and numerous commemorative celebrations and exhibitions were launched, using phrases like “the 90th anniversary of dongman.” The use of the word … Continue reading An Etymological Study of the Terms Dongman, Donghua, and Manhua
Yiman Wang Liu Jian, a Nanjing-based animator and director with a background in painting, has single-handedly launched the genre of black humor adult animation in China, and further catapulted it into the international limelight with two feature-length works, Piercing I (2010) and Have a Nice Day (2018). Produced by the Le Joy Animation Studio, which … Continue reading The Animation that Deconstructs Itself—Liu Jian’s Piercing I and Have a Nice Day
Jianhua Chen; translated by Isabel Galwey The first ten years of the twenty-first century have passed in a snap of the fingers. Many trends have come and gone, but nothing has prevented the onward march of the globalized economy. The world, the globe, and our everyday lives are undergoing historic changes — and so are … Continue reading The Rise of Wolf Culture: Thoughts on Pleasant Goat and Big Big Wolf
Belinda Qian He While the field of animation studies has expanded in the past decades, scholarly attention paid to the world of animation has been limited to either major works or dominant theoretical approaches from the United States, Europe, and Japan. Among the few exceptions, the launch of the Association for Chinese Animation Studies (ACAS) and the … Continue reading Chinese Animation, Creative Industries, and Digital Culture, by Weihua Wu. New York: Routledge, 2017. 206pp.
Download PDF Daisy Yan Du Course Description: This graduate course is a comparative study of Chinese animation between the 1920s and 1980s. Located in an international landscape of modernity, this course will examine Chinese animation in relation to American, Japanese, and Soviet animations, thus providing an alternative perspective to current studies of Chinese animation … Continue reading Course Syllabus: HUMA 6001T: Comparative Perspectives on Chinese Animation (Daisy Yan Du, Hong Kong University of Science and Technology)
Cyrus Huiyong Qiu Aaron Wenhai Zhou’s Ph.D. dissertation offers an in-depth exploration of the flourishing independent animation industry in modern China. While the growing animation industry in China and its rich variety of mainstream cultural products receive much of the spotlight from the media as well as attention from academia, research on Chinese independent animation, … Continue reading Between Ideological Confinement and Cultural Creativity: An Exploration of Chinese Independent Animation as a Formative Agent of Cultural Identity, Ph.D. dissertation, by Aaron Wenhai Zhou, The University of Waikato, New Zealand, 2017. 318 pp.
Download PDF Yan Dingxian; translated by Nick Stember (Panel Chair) Thank you, Teacher Duan, for your wonderful speech. I believe everyone has learned a lot. Our next speaker will be Teacher Yan Dingxian. He was born in 1936 and graduated from the Beijing Film Academy in 1953. That same year, he joined the Shanghai Animation … Continue reading An Authentic Animator