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
The inaugural conference of the Association for Chinese Animation Studies will be held at the Hong Kong University of Science and Technology on May 11-14, 2020. The official language is English. The conference will be held every 3-4 years. There will be two keynote speakers for each conference: one from China studies, and one from … Continue reading ACAS Inaugural Conference: May 11-14, 2020, Hong Kong
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