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Chinese Independent Animation pp 15–52Cite as

Palgrave Macmillan

A Dispersed ‘Independent’ Ecology

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Part of the book series: Palgrave Animation ((PAANI))

Abstract

This chapter provides a more detailed overview of the historical precedents to the contemporary culture of Chinese animation. In particular, it focuses on the transition from the Meishu legacy towards a more individualised mode of animation production, a transition that entails discussion of the importance of Flash as a relatively flexible and easily accessible platform for animators working privately in their domestic spaces. This also implied a move away from the constraints of the explicitly political Minzu imperatives of cultural production so that art and its social function could be redefined, albeit constantly subject to subtle political constraints. The expressive hybridity and discursive characteristics apparent in independent animation give cause to rethink this distinctive art form in the context of Chinese visual culture and to distinguish from other ‘independent’ art forms as described in relation to cinema or literature.

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Notes

  1. 1.

    Macdonald, S. (2015). Animation in China: History, Aesthetics, Media: Taylor & Francis.

  2. 2.

    Ehrlich, D. & Jin, Y. (2001). Animation in China. Animation in Asia and the Pacific. Ed. John A. Lent. Bloomington: Indiana University Press, 2001, pp. 7–32.

  3. 3.

    Wu, W. (2006), p. 9.

  4. 4.

    Zeng, G. (1992). Zhongguo Zaoqi de Donghuapian (Chinese early animation). Jiangsu Film, December.

  5. 5.

    Citizen, Wake up! [Tongbao suxing]. Dir. Wan Laiming. Shanghai Lianhua Film Company, 1931.

  6. 6.

    Princess Iron Fan [Tieshan gongzhu]. Dir. Wan Laiming. Shanghai Lianhua Film Company, 1941.

  7. 7.

    Zhu Bajie Eats the Watermelon [Zhubajie chi xigua]. Dir. Wan Guchan. Shanghai Animation Studio, 1958.

  8. 8.

    Uproar in Heaven [Daonao tiangong]. Dir. Wan Laiming. Shanghai Animation Studio, 1961.

  9. 9.

    Wan, Laiming, and Wan, Guohun. (1986). Sun Wukong and Me [Wo yu sun wukong]. Taiyuan: Beiyue wenyi, p. 88.

  10. 10.

    Zhang, H. (2002). Ershi shiji zhongguo donghua yishushi (The Artistic History of Chinese Animation in Twentieth Century). Xi’an: Shanxi Renmin Meishu Press.

  11. 11.

    The Editorial Commission of Dictionary of Film Arts. (1986). Fine Arts Film [Meishu Dianying, 美术电影]. In: Dictionary of Film Arts [Dianying yishu cidian, 电影艺术词典]. Beijing: Chinese Film Press, 576–577, p. 576.

  12. 12.

    Deren, M (1960) Cinematography: The creative use of reality. In: Braudy L, Cohen M (2004). Film Theory and Criticism: Introductory Readings. 6th edn. Oxford: Oxford University Press.

  13. 13.

    Macdonald, S. (2015), p. 78.

  14. 14.

    The Conceited General [Jiaoao de jiangjun]. Dir. Te Wei. Shanghai Animation Studio, 1956.

  15. 15.

    Zhengfeng was a reform movement that emphasised a nationwide ‘critique and self-critique’ strengthening the collectivism and going against individualism.

  16. 16.

    Berry, C. (1992) ‘Race’ (Minzu): Chinese Film and the Politics of Nationalism. Cinema Journal. Vol. 31, No. 2 (Winter, 1992): 45–58, p. 47.

  17. 17.

    Wu, W. (2006), p. 26.

  18. 18.

    Talks at the Yenan Forum on Literature and Art (May 1942). Selected Works from marxists https://www.marxists.org/reference/archive/mao/works/red-book/ch32.htm.

  19. 19.

    Orwell, G. (1998). Nineteen Eighty-Four: Hodder General Publishing Division.

  20. 20.

    Orwell, G. (1998). Nineteen Eighty-Four: Hodder General Publishing Division. Appendix.

  21. 21.

    Ibid., p. 401.

  22. 22.

    Li, Yulong. (2005). ‘Zhongguo yingshi donghua fazhan xianzhuang fenxi’ (Analysis of the current situation of development of film and television animation), Sheke zongheng, No. 3.

  23. 23.

    Personal interview with Xue Yanping 3 November 2012.

  24. 24.

    Wu, W. (2006). p. 31.

  25. 25.

    Zhou, K. (1990). ‘Nanwang de 1989 (Unforgettable 1989)’, in Society of Chinese Filmmakers (ed.). Yearbook of Chinese Cinema 1990. Beijing: Chinese Film Press.

  26. 26.

    Zhu, L. (1998) ‘Drawing on the Cartoon Biz’. China Daily (US ed.). 25 August: 9.

  27. 27.

    Li, L. (2011). Understanding Chinese animation industry: The nexus of media, geography and policy. Creative Industries Journal, 3:3, 189–205.

  28. 28.

    He, J. & Li, L. (2005). The development path of Shenzhen animation industry and its local and trans-local factors. Contemporary Cinema. No. 6, pp. 113–117 (in Chinese).

  29. 29.

    Personal interview with Xue Yanping 3 November 2012.

  30. 30.

    Keane, M. (2006). From Made in China to Created in China. International Journal of Cultural Studies. 9: 3, pp. 285–296.

  31. 31.

    Bao, J. (1993). My Opinion of Animated Film Reforms. Dianying Tongxun. no. 4 (1993): pp. 5–6 (in Chinese).

  32. 32.

    He, B. & He, Wei. (2014). The Stories of Animation Outsourcing in China. Communication University of China CUC Publishing House, pp. 100–103 (in Chinese).

  33. 33.

    Florida, R. (2002). Rise of the Creative Class: And How It’s Transforming Work, Leisure, Community, and Everyday Life. New York, NY: Basic Books.

  34. 34.

    Chan, K, Wing. (2009). The Chinese Hukou System at 50. Eurasian Geography and Economics. 50, 2: pp. 197–221.

  35. 35.

    Wu, W. (2006), p. 135.

  36. 36.

    Hu, Jintao. (October 2007). Hold High the Great Banner of Socialism with Chinese Characteristics and Strive for New Victories in Building a Moderately Prosperous Society in all. Report to the Seventeenth National Congress of the Communist Party of China. Retrieved from: http://www.china.org.cn/english/congress/229611.htm

  37. 37.

    UK’s Department of Culture, Media and Sport (DCMS) release in 1998 of its Creative Industries Mapping Study.

  38. 38.

    Florida, R. L. (2005). Cities and the Creative Class: Routledge.

  39. 39.

    Dai, J., Zhou S., Keane, M & Huang, Q (2012) Mobility of the Creative Class and City Attractiveness: A Case Study of Chinese Animation Workers. Eurasian Geography and Economics. 53:5, pp. 649–670.

  40. 40.

    Voci, P. (2010). China on Video: Smaller-Screen Realities: Taylor & Francis, p. 54.

  41. 41.

    Ibid., p. 56.

  42. 42.

    Wu, W. (2014). ‘Individuality, State Discourse and Visual Representation: the Imagination and Practices of the iGeneration. in Chinese Animation’, China’s iGeneration: Filmmakers, Films and Audiences in a New Media Age. Eds. Matthew D. Johnson, Keith B. Wagner, Kiki Tianqi Yu, and Luke Vulpiani. London: Continuum Publishing Co, 2014, pp. 57–71.

  43. 43.

    Personal interview with Pi San in 2015.

  44. 44.

    Wu, W. (2014), p. 64.

  45. 45.

    Munster, A. (2003) Compression and the Intensification of Visual Information in Flash Aesthetics. Proceedings of the Fifth International Digital Arts and Culture Conference. RMIT, Melbourne, Australia, p. 141.

  46. 46.

    Personal interview with Pi San in 2015.

  47. 47.

    Wu, W. (2006), p. 193.

  48. 48.

    Macdonald, S. (2015), p. 196.

  49. 49.

    Pingshu (评书) was originated in the seventeenth century during the Qing Dynasty as a classical oral literary form.

  50. 50.

    Dongbeiren doushi huo LeiFeng. Retrieved from https://www.youtube.com/watch?v=ya8CTv2dwS4 in 2014.

  51. 51.

    Wang, B. (2005). Flash – A Technique or an Art. [Flash – Jishu haishi Yishu]. Renmin University of China Publishing House: Beijing China (in Chinese).

  52. 52.

    Bu Hua, Flash Animator. China Through a Lens. From http://www.china.org.cn/english/2004/Nov/113605.htm.

  53. 53.

    The Art Life. Retrieved from http://tv.cctv.com/2012/12/16/VIDE1355591349755412.shtml.

  54. 54.

    Guest, L. (15 November 2013). Material Girls, Super Starlets and Girls with Swagger. The Art Life. Retrieved from http://theartlife.com.au/2013/material-girls-super-starlets-and-girls-with-swagger/.

  55. 55.

    Duara, P. (1996). Rescuing History from the Nation: Questioning Narratives of Modern China: University of Chicago Press, p. 10.

  56. 56.

    Benedict, A. (2006). Imagined Communities: Reflections on the Origin and Spread of Nationalism: Verso, p. 6.

  57. 57.

    Ibid., pp. 44–45.

  58. 58.

    Hegel , G. W. F. (1998). Aesthetics: Lectures on Fine Art: Clarendon Press, p. 73.

  59. 59.

    Appadurai, A. (1996). Modernity Al Large: Cultural Dimensions of Globalization: University of Minnesota Press, p. 24.

  60. 60.

    Appadurai, A. (1996), p. 25.

  61. 61.

    Ibid., p. 7.

  62. 62.

    Ibid., p. 32.

  63. 63.

    Fei, Xiaotong (1992). [translated] From the Soil: The Foundations of Chinese Society. Berkeley, USA: University of California Press, p. 21.

  64. 64.

    Lu, Zhonghui. (2003). [translated]. A Study on the Ethnic Politics of China. [松本, ますみ. 中国民族政策の研究: 清末から1945年までの「民族論」を中心に]. Minzu Publisher.

  65. 65.

    Dewsbury, J-D (2011). The Deleuze-Guattarian assemblage: plastic habits. Area Vol. 43, no. 2, pp. 148–153.

  66. 66.

    DeLanda, M. (2006). A New Philosophy of Society: Assemblage Theory and Social Complexity: Bloomsbury Publishing, p. 10.

  67. 67.

    Ibid., p. 33.

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  1. University of Waikato, Hamilton, New Zealand

    Wenhai Zhou

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Zhou, W. (2020). A Dispersed ‘Independent’ Ecology. In: Chinese Independent Animation. Palgrave Animation. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-40697-4_2

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