Abstract
The rise of ‘auteur-driven’ animation in China reflects recent socio-cultural transformations to some extent, with feature-length independent animated films indicating an abiding possibility of exploring ambivalence towards the notion of a core ‘Chineseness’. It is apparent that the Chinese version of capitalism has brought both opportunities and disruptions to society which stimulates more independent artists to express their concerns online via visual representation. Another emerging independent animation artist, Liu Jian, has abandoned conventional animation methods and projects his version of post-socialist reality through an animated black comedy. His first feature-length animation Piercing I (2010) documents ‘reality’ more directly and thereby enjoins the audience to reconsider and redress the imbalance within contemporary society. His work is not only concerned with the issues of cultural commentary, but with individual cognition; not only does he explore the scope of ‘independence’ in contemporary China, but he also attempts to evoke a common consciousness with humanity. Liu Jian has had his work accepted for viewing on the international film festival circuit but due to political sensitivities has had permission to release his work internationally rescinded (for the time being) and some of his work has not been approved for release domestically as well. Even so, his work remains widely accessible on the Internet and social media. To a certain degree, this further exemplifies the constant condition of ‘renegotiation’ for the dissemination of independent animation, but it entails a more ‘front-on’ conflict with government.
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Zhou, W. (2020). The Future Prospect of the Chinese Independent Animation Ecology. In: Chinese Independent Animation. Palgrave Animation. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-40697-4_6
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