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Author: Olga Bobrowska
Publisher: CRC Press
ISBN: 100382224X
Category : Computers
Languages : en
Pages : 136
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Book Description
This book presents a contextualized overview of the history of Chinese animated film, pointing out the most influential self-definitions of Chinese culture employed in animation art of Mao Zedong’s rule (1949–1976) but largely focusing on the representation strategies created in the times of reforms and opening-up under Deng Xiaoping (1978–1989/1992). Deeply grounded in cultural studies, the book employs an interdisciplinary approach, interlacing the reflection with the perspectives of political science, film studies, and film festival studies. It focuses on phenomena anchored to the paradigms of nationalization, reform, and internationalization: among them, nuanced understanding of the minzu (national) category (including the classic style of Chinese animation); invention of wash-and-ink painting animation (shuimo donghua); renewal of film theory and animated film language; soft power and cultural diplomacy; and regular access and co-creation of the international industry (festival distribution). This book will be of great interest to those in the fields of animation studies, film studies, political science, Chinese area studies, and Chinese philology.
Author: Olga Bobrowska
Publisher: CRC Press
ISBN: 100382224X
Category : Computers
Languages : en
Pages : 136
Get Book Here
Book Description
This book presents a contextualized overview of the history of Chinese animated film, pointing out the most influential self-definitions of Chinese culture employed in animation art of Mao Zedong’s rule (1949–1976) but largely focusing on the representation strategies created in the times of reforms and opening-up under Deng Xiaoping (1978–1989/1992). Deeply grounded in cultural studies, the book employs an interdisciplinary approach, interlacing the reflection with the perspectives of political science, film studies, and film festival studies. It focuses on phenomena anchored to the paradigms of nationalization, reform, and internationalization: among them, nuanced understanding of the minzu (national) category (including the classic style of Chinese animation); invention of wash-and-ink painting animation (shuimo donghua); renewal of film theory and animated film language; soft power and cultural diplomacy; and regular access and co-creation of the international industry (festival distribution). This book will be of great interest to those in the fields of animation studies, film studies, political science, Chinese area studies, and Chinese philology.
Author: Olga Bobrowska
Publisher: CRC Press
ISBN: 1000824217
Category : Computers
Languages : en
Pages : 197
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Book Description
This book examines animated propaganda produced in mainland China from the 1940s to the 1970s. The analyses of four puppet films demonstrate how animation and Maoist doctrine became tightly but dynamically entangled. The book firstly contextualizes the production conditions and ideological contents of The Emperor’s Dream (1947), the first puppet film made at the Northeast Film Studio in Changchun. It then examines the artistic, intellectual, and ideological backbone of the puppet film Wanderings of Sanmao (1958). The book presents the means and methods applied in puppet animation filmmaking that complied with the ideological principles established by the radical supporters of Mao Zedong in the first half of the 1960s, discussing Rooster Crows at Midnight (1964). The final chapter discusses The Little 8th Route Army (1973), created by You Lei in the midst of the Cultural Revolution. This book will be of great interest to those in the fields of animation studies, film studies, political science, Chinese area studies, and Chinese philology.
Author: Olga Bobrowska
Publisher:
ISBN: 9781032197678
Category : Animated films
Languages : en
Pages : 0
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Book Description
This book presents a contextualized overview of the history of Chinese animated film, pointing out the most influential self-definitions of Chinese culture employed in animation art of Mao Zedong's rule (1949-1976) but largely focusing on the representation strategies created in the times of reforms and opening-up under Deng Xiaoping (1978-1989/1992). Deeply grounded in cultural studies, the book employs an interdisciplinary approach, interlacing the reflection with the perspectives of political science, film studies, and film festival studies. It focuses on phenomena anchored to the paradigms of nationalization, reform, and internationalization: among them, nuanced understanding of the minzu (national) category (including the classic style of Chinese animation); invention of wash-and-ink painting animation (shuimo donghua); renewal of film theory and animated film language; soft power and cultural diplomacy; and regular access and co-creation of the international industry (festival distribution). This book will be of great interest to those in the fields of animation studies, film studies, political science, Chinese area studies, and Chinese philology.
Author: Yiman Wang
Publisher: Hong Kong University Press
ISBN: 9888139169
Category : Film remakes
Languages : en
Pages : 233
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Book Description
From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multilocal process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through transregional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood’s fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach, a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
Author: Wenhai Zhou
Publisher: Palgrave Macmillan
ISBN: 9783030406998
Category : Performing Arts
Languages : en
Pages : 222
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Book Description
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: Olga Chistyakova
Publisher: Springer Nature
ISBN: 2494069432
Category : Philosophy
Languages : en
Pages : 448
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Book Description
This is an open access book. The aim of the Conference is to provide a shared platform for academics, scholars, PhD students, and graduate students with different cultural backgrounds to present and discuss research, developments and innovations in the fields of contemporary education, social sciences and humanities are referred with the understanding of the Human being. Papers concerning education, philosophy, philosophical anthropology, sociology, theory and history of culture, epistemology, religions, ethics are strongly related with analyzing of the Human being will be considered. Interdisciplinary approach and comparative perspective are encouraged.
Author: Zhong Chen
Publisher: Springer Nature
ISBN: 2384762818
Category :
Languages : en
Pages : 367
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Book Description
Author: Chris Robinson
Publisher: CRC Press
ISBN: 1003837956
Category : Computers
Languages : en
Pages : 169
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Book Description
One of the most acclaimed writers in animation returns with this informal sequel to his previous books on indie animation, Unsung Heroes of Animation, Animators Unearthed, and Mad Eyed Misfits. In this collection, award-winning writer, Chris Robinson, looks at a wide range of films, topics (sex, censorship, cultural politics, programming, felt, gifs, VR, dogs) and filmmakers (Masaaki Yuasa, Xi Chen, Gil Alkabetz, Jacques Drouin, Bordo, Rosto, Joaquín Cociña, Cristóbal León, George Schwizgebel, Lizzy Hobbs, Andreas Hykade, Leah Shore, and many others). Eclectic, brief, fiery, and opinionated, Robinson’s gonzo-tinged writing will amuse, confuse, annoy, and maybe even inspire while, hopefully introducing readers to the wonders of independently-produced animation.
Author: Laura Pontieri
Publisher: CRC Press
ISBN: 1000912442
Category : Computers
Languages : en
Pages : 181
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Book Description
This book is a first and long-awaited study of the directorial work of the animation master Fëdor Khitruk (1917–2012), an artist who formed in the tradition of classical cel animation only to break the conventions once he turned into a director; a liaison between artists and authorities; a personality who promoted daring films to be created in the Soviet Union dominated by socialist realism; and a teacher and supporter of young artists that continued to carry on his legacy long after the Soviet empire collapsed. Fëdor Khitruk: A Look at Soviet Animation through the Work of One Master reveals Khitruk’s mastery in the art of the moving image and his critical role as a director of films that changed the look of Soviet animation and its relation to the animation world within and beyond the Eastern Bloc. Based on archival research, personal interviews, published memoirs, and perceptive analyses of Khitruk’s production of films for children and adults, this study is a must-read for scholars in Soviet art and culture as well as readers fascinated by traditional animation art.
Author: Paul Bevan
Publisher: BRILL
ISBN: 900430794X
Category : Art
Languages : en
Pages : 407
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Book Description
In A Modern Miscellany: Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926-1938 Paul Bevan explores how the cartoon (manhua) emerged from its place in the Chinese modern art world to become a propaganda tool in the hands of left-wing artists. The artists involved in what was largely a transcultural phenomenon were an eclectic group working in the areas of fashion and commercial art and design. The book demonstrates that during the build up to all-out war the cartoon was not only important in the sphere of Shanghai popular culture in the eyes of the publishers and readers of pictorial magazines but that it occupied a central place in the primary discourse of Chinese modern art history.
