Chinese Independent Animation
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| Author | : Wenhai Zhou |
| Publisher | : Palgrave Macmillan |
| Total Pages | : 222 |
| Release | : 2021-05-08 |
| Genre | : Performing Arts |
| ISBN | : 9783030406998 |
This study of ‘independent’ animation opens up a quietly subversive and vibrant dimension of contemporary Chinese culture which, hitherto, has not received as much attention as dissident art or political activism. Scholarly interest in Chinese animation has increased over the last decade, with attention paid to the conventional media circle of production, distribution and consumption. The ‘independent’ sector has been largely ignored however, until now. By focusing on distinctive independent artists like Pisan and Lei Lei, and situating their work within the present day media ecology, the author examines the relationship between the genre and the sociocultural transformation of contemporary China. Animation, the author argues, has a special significance, as the nature of the animation text is itself multilayered and given to multiple interpretations and avenues of engagement. Through an examination of the affordances of this ‘independent’ media entity, the author explores how this multifaceted cultural form reveals ambiguities that parallel contradictions in art and society. In so doing, independent animation provides a convenient ‘mirror’ for examining how recent social upheavals have been negotiated, and how certain practitioners have found effective ways for discussing the post-Socialist reality within the current political configuration.
| Author | : Wenhai Zhou |
| Publisher | : Springer Nature |
| Total Pages | : 230 |
| Release | : 2020-04-23 |
| Genre | : Performing Arts |
| ISBN | : 3030406970 |
This study of ‘independent’ animation opens up a quietly subversive and vibrant dimension of contemporary Chinese culture which, hitherto, has not received as much attention as dissident art or political activism. Scholarly interest in Chinese animation has increased over the last decade, with attention paid to the conventional media circle of production, distribution and consumption. The ‘independent’ sector has been largely ignored however, until now. By focusing on distinctive independent artists like Pisan and Lei Lei, and situating their work within the present day media ecology, the author examines the relationship between the genre and the sociocultural transformation of contemporary China. Animation, the author argues, has a special significance, as the nature of the animation text is itself multilayered and given to multiple interpretations and avenues of engagement. Through an examination of the affordances of this ‘independent’ media entity, the author explores how this multifaceted cultural form reveals ambiguities that parallel contradictions in art and society. In so doing, independent animation provides a convenient ‘mirror’ for examining how recent social upheavals have been negotiated, and how certain practitioners have found effective ways for discussing the post-Socialist reality within the current political configuration.
| Author | : Weihua Wu |
| Publisher | : Routledge |
| Total Pages | : 300 |
| Release | : 2017-08-03 |
| Genre | : Social Science |
| ISBN | : 1351611089 |
This book explores the development of the Chinese animation film industry from the beginning of China’s reform process up to the present. It discusses above all the relationship between the communist state’s policies to stimulate "creative industries", concepts of creativity and aesthetics, and the creation and maintenance , through changing circumstances, of a national style by Chinese animators. The book also examines the relationship between Chinese animation, changing technologies including the rise first of television and then of digital media, and youth culture, demonstrating the importance of Chinese animation in Chinese youth culture in the digital age.
| Author | : Rolf Giesen |
| Publisher | : McFarland |
| Total Pages | : 792 |
| Release | : 2014-12-19 |
| Genre | : Performing Arts |
| ISBN | : 1476615527 |
With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry's infancy, its Golden Age (Shanghai Animation Film Studio) and today's Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).
| Author | : Zhen Zhang |
| Publisher | : University of Hawaii Press |
| Total Pages | : 410 |
| Release | : 2015-05-31 |
| Genre | : Performing Arts |
| ISBN | : 0824846818 |
In 1990s post-Reform China, a growing number of people armed with video cameras poured out upon the Chinese landscape to both observe and contribute to the social changes then underway. Happening upon the crucial platform of an older independent film movement, this digital turn has given us a "DV China" that includes film and media communities across different social strata and disenfranchised groups, including ethnic and religious minorities and LGBTQ communities. DV-Made China takes stock of these phenomena by surveying the social and cultural landscape of grassroots and alternative cinema practices after the digital turn around the beginning of the new century. The volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non-fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids. At every turn, the book confronts digital ironies: On the one hand, its portability facilitates forms of radically private film production and audience habits of small-screen consumption. Yet it also simultaneously links up makers and consumers, curators and censors allowing for speedier circulation, more discussion, and quicker formations of public political and aesthetic discourses. DV-Made China introduces new frameworks in a Chinese setting that range from aesthetics to ethical activism, from digital shooting and editing techniques to the politics of film circulation in festivals and online. Politics, the authors urge, travels along paths of aesthetic excitement, and aesthetic choices, conversely, always bear ethical consequences. The films, their makers, their audiences and their distributional pathways all harbor implications for social change that are closely intertwined with the fate of media culture in the new century of a world that both contains and is influenced by China.
| Author | : |
| Publisher | : BRILL |
| Total Pages | : 299 |
| Release | : 2021-10-05 |
| Genre | : Performing Arts |
| ISBN | : 9004499601 |
This is the first book in English on Chinese animation and socialism that introduces the insider viewpoints of socialist animators at the Shanghai Animation Film Studio. A timely and useful reference book for researchers, students, animators, and fans interested in Chinese and even world animation.
| Author | : Sean Macdonald |
| Publisher | : Routledge |
| Total Pages | : 272 |
| Release | : 2015-11-06 |
| Genre | : Performing Arts |
| ISBN | : 1317382161 |
By the turn of the 21st century, animation production has grown to thousands of hours a year in the People’s Republic of China (PRC). Despite this, and unlike American blockbuster productions and the diverse genres of Japanese anime, much animation from the PRC remains relatively unknown. This book is an historical and theoretical study of animation in the PRC. Although the Wan Brothers produced the first feature length animated film in 1941, the industry as we know it today truly began in the 1950s at the Shanghai Animation Film Studio (SAFS), which remained the sole animation studio until the 1980s. Considering animation in China as a convergence of the institutions of education, fine arts, literature, popular culture, and film, the book takes comparative approaches that link SAFS animation to contemporary cultural production including American and Japanese animation, Pop Art, and mass media theory. Through readings of classic films such as Princess Iron Fan, Uproar in Heaven, Princess Peacock, and Nezha Conquers the Dragon King, this study represents a revisionist history of animation in the PRC as a form of "postmodernism with Chinese characteristics." As a theoretical exploration of animation in the People’s Republic of China, this book will appeal greatly to students and scholars of animation, film studies, Chinese studies, cultural studies, political and cultural theory.
| Author | : Rob Schmitz |
| Publisher | : Crown |
| Total Pages | : 338 |
| Release | : 2016-05-17 |
| Genre | : Social Science |
| ISBN | : 0553418092 |
An unforgettable portrait of individuals who hope, struggle, and grow along a single street cutting through the heart of Shanghai, from one of the most acclaimed broadcast journalists reporting on China. Modern Shanghai: a global city in the midst of a renaissance, where dreamers arrive each day to partake in a mad torrent of capital, ideas, and opportunity. Marketplace’s Rob Schmitz is one of them. He immerses himself in his neighborhood, forging deep relationships with ordinary people who see in the city’s sleek skyline a brighter future, and a chance to rewrite their destinies. There’s Zhao, whose path from factory floor to shopkeeper is sidetracked by her desperate measures to ensure a better future for her sons. Down the street lives Auntie Fu, a fervent capitalist forever trying to improve herself with religion and get-rich-quick schemes while keeping her skeptical husband at bay. Up a flight of stairs, musician and café owner CK sets up shop to attract young dreamers like himself, but learns he’s searching for something more. As Schmitz becomes more involved in their lives, he makes surprising discoveries which untangle the complexities of modern China: A mysterious box of letters that serve as a portal to a family’s—and country’s—dark past, and an abandoned neighborhood where fates have been violently altered by unchecked power and greed. A tale of 21st-century China, Street of Eternal Happiness profiles China’s distinct generations through multifaceted characters who illuminate an enlightening, humorous, and at times heartrending journey along the winding road to the Chinese Dream. Each story adds another layer of humanity and texture to modern China, a tapestry also woven with Schmitz’s insight as a foreign correspondent. The result is an intimate and surprising portrait that dispenses with the tired stereotypes of a country we think we know, immersing us instead in the vivid stories of the people who make up one of the world’s most captivating cities.
| Author | : Serhiy Zhadan |
| Publisher | : Yale University Press |
| Total Pages | : 240 |
| Release | : 2021 |
| Genre | : History |
| ISBN | : 0300251254 |
An examination of how America can strengthen its approach to China by building on its existing advantages “This book is essential reading for anyone interested in understanding how the United States can renew its advantages in its competition with China.”—Ambassador Susan E. Rice, former U.S. National Security Advisor “Ryan Hass has provided an indispensable and timely contribution to understanding our critical path forward with China.”—Jon M. Huntsman, former U.S. Ambassador to China and Russia Ryan Hass charts a path forward in America’s relationship and rivalry with China, a path rooted in the relative advantages America already possesses. Hass argues that while competition will remain the defining trait of the relationship, both countries will continue to be impacted—for good or ill—by their capacity to coordinate on common challenges that neither can solve on its own, such as pandemic disease, global economic development, climate change, and nuclear nonproliferation. Hass makes the case that the United States will have greater success in outpacing China economically and outshining it in questions of governance if it focuses more on improving its condition at home than on trying to impede Chinese initiatives. He argues that the task at hand is not to stand in China’s way and, in the process, turn a rising power into an enemy but to renew America’s advantages in its competition with China.
| Author | : Sara Hsu |
| Publisher | : Columbia University Press |
| Total Pages | : 430 |
| Release | : 2020-08-04 |
| Genre | : Business & Economics |
| ISBN | : 0231551711 |
Financial technology—or fintech—is gaining in popularity globally as a way of making financial services more efficient and accessible. In rapidly developing China, fintech is taking off, catering to markets that state-owned banks and an undersized financial sector do not serve amid a backdrop of growing consumption and a large, tech-savvy millennial generation. It is becoming increasingly likely that some of China’s fintech firms will change the way the world does business. In China’s Fintech Explosion, Sara Hsu and Jianjun Li explore the transformative potential of China’s financial-technology industry, describing the risks and rewards for participants as well as the impact on consumers. They cover fintech’s many subsectors, such as digital payment systems, peer-to-peer lending and crowdfunding, credit card issuance, internet banks, blockchain finance and virtual currencies, and online insurance. The book highlights the disruption of traditional banking as well as the risks of fintech and regulatory technology. Hsu and Li describe major companies including Alipay and Tencent, developer of WeChat Pay and a wealth-management business, and other leading fintech firms such as Creditease, Zhong An Insurance, and JD Finance. Offering expert analysis of market potential, risks, and competition, as well as case studies of firms and consumer behavior, China’s Fintech Explosion is a must-read for anyone interested in one of the world’s breakout sectors.
