Animation Program History in Fine ART Schools of China
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Art, Politics, and Commerce in Chinese Cinema
Art, Politics, and Commerce in Chinese Cinema edited by Ying Zhu and Stanley Rosen Hong Kong University Press 14/F Hing Wai Centre, 7 Tin Wan Praya Road, Aberdeen, Hong Kong www.hkupress.org © Hong Kong University Press 2010 Hardcover ISBN 978-962-209-175-7 Paperback ISBN 978-962-209-176-4 All rights reserved. Copyright of extracts and photographs belongs to the original sources. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the copyright owners. Printed and bound by XXXXX, Hong Kong, China Contents List of Tables vii Acknowledgements ix List of Contributors xiii Introduction 1 Ying Zhu and Stanley Rosen Part 1 Film Industry: Local and Global Markets 15 1. The Evolution of Chinese Film as an Industry 17 Ying Zhu and Seio Nakajima 2. Chinese Cinema’s International Market 35 Stanley Rosen 3. American Films in China Prior to 1950 55 Zhiwei Xiao 4. Piracy and the DVD/VCD Market: Contradictions and Paradoxes 71 Shujen Wang Part 2 Film Politics: Genre and Reception 85 5. The Triumph of Cinema: Chinese Film Culture 87 from the 1960s to the 1980s Paul Clark vi Contents 6. The Martial Arts Film in Chinese Cinema: Historicism and the National 99 Stephen Teo 7. Chinese Animation Film: From Experimentation to Digitalization 111 John A. Lent and Ying Xu 8. Of Institutional Supervision and Individual Subjectivity: 127 The History and Current State of Chinese Documentary Yingjin Zhang Part 3 Film Art: Style and Authorship 143 9. -
1St China Onscreen Biennial
2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and -
61 Story of the Monkey: the Modular Narrative and Its Origin of <The
61 http://dx.doi.org/10.7230/KOSCAS.2012.29.061 Story of the monkey: The modular narrative and its origin of <The Uproar in Heaven> Ⅰ. Introduction Ⅱ. The character-driven strategy and the hero of class struggle Ⅲ. Shifting plotlines and mirror structure Ⅳ. Influence of the Zhanghui style Ⅴ. Conclusion Wang, Lei 초 록 The essay explores the narrative structure of the classical Chinese feature animation, <The Uproar in Heaven> (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film <The Uproar in Heaven>, the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of <The Uproar in Heaven> was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country. Key Word : Chinese animation, Non-linear narrative, <The Uproar in Heaven> 62 Ⅰ. Introduction The stories of the Monkey King(a.k.a. Sun Wukong), the skilled fighter with supernatural strength, 72 transformations into various animals and objects, and super-fast traveling skills of 54,000 kilometers in one somersault, has been the most popular childhood fantasy of Chinese for hundreds of years. -
Newsletter 13
Prelude to the Opening: Integrating Wares Hard and Soft The construction of the Hong Kong Film Archive building has finally been completed. In August, we bid farewell to our Planning Office and moved into the new building. All sections of the Archive are busy working with each other to make sure that the new environment will serve as an effective site for the preservation and promotion of our film culture. The Administration Section has shouldered the responsibility of coordinating the relocation, from supervising the progress of construction to purchasing furnishings. While the Conservation Section is testing the temperature and humidity of our storage vaults, the Cataloguing Section is shelving publications, prints and audio-visual materials as well as working with the IT Systems Section to input data of our collection into the computer system. Our new structure also includes the Programming Section, which has been established to take over the curation of screenings and exhibitions from the Research and Editorial Sections. We are putting our facilities through vigorous testing to ensure that when the Archive opens, we can share the 80-year treasures of Hong Kong cinema with the public. In what way can we expediently serve the citizens of Hong Kong and researchers of the world? In what manner do we share our collection with the public? Heads of the Programming and Conservation Sections are invited to answer these questions, providing a key to understanding our operation. We will continue to introduce other facilities and services in our coming issues. Prelude to the Opening - Some Thoughts on Assuming a New Responsibility Law Kar, HKFA Programmer The Hong Kong Film Archive has come about as a result of repeated urgings from the public. -
English Translation
Hong Kong Film Archive e-Newsletter 69 More English translation Publisher: Hong Kong Film Archive © 2014 Hong Kong Film Archive All rights reserved. No part of the content of this document may be reproduced, distributed or exhibited in any form or by any electronic, mechanical, or other means, now known or hereafter invented, or in any information storage or retrieval system, without permission in writing from the publisher. Feature In Full Bloom: The Development of Contemporary Chinese Animation (2) Fung Yuk-sung Cont’d from Newsletter Issue 68 for 1947-1976 Liberation and Creativity (1977–1989) The demise of the Gang of Four in the autumn of 1976 marked the end of the Cultural Revolution and ten years of turbulence in the country. After 1977, China implemented policies to ‘restore order after chaos,’ and also to reform and open the doors to international communication and exchange. Te Wei returned to his position as the head of the Shanghai Animation Film Studio, and Chinese animators welcomed a period of liberation, creativity and freedom of ideas. A Night in an Art Gallery, completed in 1978 and directed by A Da and others, is a fable that hints heavily at real-life events. It uses a visual style similar to that of a comic book to satirise the oppressive tyranny of the Gang of Four. It is a work that closely reflects the spirit of its times and how the people felt about the ten violent years that had just passed. A Night in an Art Gallery signified the end of a dark period and the beginning of a cultural renaissance. -
Global Communication, Local Perspectives
2010 China Communication Forum Global Communication, Local Perspectives English Papers 10-12, December ,2010 Hong Kong,China China Association of Communication Chinese Communication Association Department of Media and Communication, City University of Hong Kong National Center for Radio and Television Studies, Communication University of China 2010 China Communication Forum Copyright Statement 1.All papers in this symposium (including text, graphics) are provided by the participants of the 2010 China Communication Forum on "Global communication, local perspective" . All papers are restricted for discussions within this symposium only. It is forbidden for anyone to use these thesis for any commercial purposes. 2.The conference organizers and the symposium do not have any rights about the papers (including text, graphics). The copyright is reserved within the legal owners of all papers. Any quotation and reproduction without the permission of copyright owners is forbidden. All the copyright disputes are irrelevant to the conference organizers and the symposium. 3.This symposium has not done any modifications to the papers included. Thus we do not guarantee the accuracy, security, integrity and the legitimacy of all the thesis. We also do not take any responsibility for the damage it has done to the users of these papers and the harm the users have done to others.If the papers in this symposium are disputed on intellectual property right, the authors should take the responsibility themselves. 2 2010 China Communication Forum CONTENTS Angela K. Y. Mak The “Customer” Metaphor in Social Institutions in the Public’s Eyes: An Exploratory Study in Singapore...........................................................4 Augustine Pang Yeo Su Lin Crisis Management Consultancy: Exploration of the Expertise, Experience and Expediency of Consultants in Public Relations Agencies in Singapore ........................................................................................... -
Book Review: Tse-Yue G. Hu, Frames of Anime: Culture and Image-Building Hong Kong University Press, 2010
Forrest Greenwood Book Review: Tse-Yue G. Hu, Frames of Anime: Culture and Image-Building Hong Kong University Press, 2010. $28 (paperback) Tse-Yue G. Hu’s Frames of Anime: Culture and Thekanji characters which comprise one of the Image-Building uniquely addresses the post- Japanese language’s three forms of writing (with colonial dimensions of Japan’s illustrated-media the other two being the hiragana and katakana industries. Hu’s ultimate goal is twofold: to locate syllabaries) were adapted from the Chinese hanzi – the historical origins of anime style, and to try to an act of linguistic grafting wherein a polysyllabic arrive at an answer for why the anime industry (as tongue ( Japanese) was forced to express itself distinct from the Japanese animation industry) through a form of writing designed for a has become the dominant model for animation monosyllabic one. The marginality fostered by this production in East and South-East Asia. predicament found its outlet of expression in what Chapter one poses the question of why Hu sees as Japan’s enduring fascination with the Japan, among all nations, should be the one to visual. A selected history of Japan’s visual arts, as embrace animation as wholeheartedly as it does. viewed through this theoretical lens, forms the Borrowing from V. N. Volosinov’s interest in the bulk of chapter two. In chapter three, Hu outlines unspoken, non-linguistic components of discourse, how Japan’s dominant religious and philosophical Hu advocates an understanding of animation as a traditions helped to sculpt the particular subject fundamentally visual form of communication – one position that would eventually give rise to this capable of expressing what conventional language system of visual communication. -
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ADAPTATION & REPRESENTATIONiu i< — T > CHINESE C f EPIC SF u tn sfotm in g t H o n k t y SUN GO CD u n iv e r sit y ?" PENNSYLVANIA. LIBRARIES Transforming Monkey Transforming Monkey ADAPTATION AND REPRESENTATION OF A CHINESE EPIC Hongmei Sun UNIVERSITY OF WASHINGTON PRESS Seattle f l l 1 I modern language I I I I initiative THIS BOOK IS MADE POSSIBLE BY A COLLABORATIVE GRANT FROM THE ANDREW W. MELLON FOUNDATION. Copyright © 2.018 by the University of Washington Press Printed and bound in the United States of America zz 21 zo 19 18 54321 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. University of Washington Press www.washington.edu/uwpress Cataloging-in-Publication Data available from the Library of Congress. ISBN (hardcover): 978-0-195-74318-9 ISBN (paperback): 978-0-295-74319-6 ISBN (ebook): 978-0-295-743Z0-Z To my parents. With you there, I will never feel lost. To my three sisters. We do not mention the love between us, only because we know it is always there. CONTENTS Acknowledgments ix Introduction 3 1. Who Is Sun Wukong? The Image of the Monkey King in Journey to the West 15 2. The Transmutable Monkey: Between Theater and Fiction in Traditional China 3 6 3. From Trickster to Hero: National Mythmaking in Wartime and Maoist China 60 4. -
Geng Xue Born 1983 in Jilin, China
Geng Xue Born 1983 in Jilin, China. Lives and works in Beijing EDUCATION 2014 M.F.A., Central Academy of Fine Arts, Beijing 2007 B.F.A., Central Academy of Fine Arts, Beijing SOLO EXHIBITIONS 2019 The Lightness of Being - Geng Xue Solo Exhibition, Zhuzhong Art Museum, Beijing 2018 Geng Xue: The Second IAPA Invitational Exhibition, Ceramic Art Avenue Art Gallery, Jingdezhen, China 2017 Geng Xue: Mount Sumeru, Klein Sun Gallery, New York 2016 Poetics of the Body - The Sculpture & Video Art of Geng Xue, Fengmian Art Space, Guangzhou, China Geng Xue: In search of sound, Yishu 8 Gallery, Beijing 2015 Geng Xue, University of Applied Arts, Vienna, Austria Geng Xue: Borrowing an Easterly Wind, Klein Sun Gallery, New York 2014 Mr. Sea - Geng Xue, Art Museum of Nanjing University of the Arts, Nanjing, China Mr. Sea - Geng Xue, ZERO Art Center, Beijing 2010 Geng Xue, H.T. Gallery, Beijing 2009 The Other Side - Geng Xue, National Museum of Wales, Cardiff, United Kingdom SELECTED GROUP EXHIBITIONS 2021 From Clay to Words: Ceramics as Media, Pearl Art Museum, Shanghai Wu Jie III, Gaota Art Plaza, Beijing Animation and Contemporary Art, Estonian Academy of Arts, Estonia 2020 Human After All: Ceramic Reflections in Contemporary Art, Keramiekmuseum Princessehof, Leeuwarden, Netherlands Nude - Arising From the Ground, The Ravestijn Gallery, Amsterdam, Netherlands When Speed Become Form - Live in Your Screen, Wind H Art Center, Beijing 398 West Street, New York, NY 10014 | T: +1.212.255.4388 | [email protected] | www.galleryek.com The Exhibition of Annual -
"The Chinese Animation Industry: from the Mao Era to the Digital Age"
The University of San Francisco USF Scholarship: a digital repository @ Gleeson Library | Geschke Center Master's Projects and Capstones Theses, Dissertations, Capstones and Projects Spring 5-18-2019 "The hineseC Animation Industry: from the Mao Era to the Digital Age" Stephanie Jones [email protected] Follow this and additional works at: https://repository.usfca.edu/capstone Part of the Asian Art and Architecture Commons, Asian History Commons, Asian Studies Commons, Chinese Studies Commons, Contemporary Art Commons, Cultural History Commons, Ethnic Studies Commons, Film Production Commons, International and Intercultural Communication Commons, Japanese Studies Commons, Language Interpretation and Translation Commons, Mass Communication Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Other History of Art, Architecture, and Archaeology Commons, Other Political Science Commons, Social Influence and Political Communication Commons, Sociology of Culture Commons, Television Commons, and the Theatre and Performance Studies Commons Recommended Citation Jones, Stephanie, ""The hineC se Animation Industry: from the Mao Era to the Digital Age"" (2019). Master's Projects and Capstones. 907. https://repository.usfca.edu/capstone/907 This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administrator of USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact [email protected]. "The Chinese Animation Industry: from the Mao Era to the Digital Age" Stephanie “Maomi” Jones University of San Francisco Masters in Asian Pacific Studies Capstone Paper APS 650 Professor John Nelson 1 Abstract Since the 1950’s the Chinese Animation industry has been trying to create a unique national style for China. -
Excellent Msc Dissertations 2020
JOANNA DOONA (ED.) AN ECOLABEL 3041 0903 NORDIC SW Excellent MSc Dissertations 2020 Excellent MSc Dissertations 2020 Excellent MSc Dissertations 2020 ryck, Lund 2021 Media and Communication Studies, Lund University JOANNA DOONA (ED.) WITH CONTRIBUTIONS FROM Printed by Media-T YUNYI LIAO, CHERYL FUNG, JIAN CHUNG LEE, YUKUN YOU & XIN ZHOU This edited volume, Excellent MSc Dissertations 2020, is the fifth in the series that collects postgraduate dissertations written by students who undertook the MSc degree in Media and communication studies at Lund University in Sweden, and graduated in June 2020. The five chapters in this volume represent work originally presented and evaluated as part of the final thesis exams in May of 2020, in which they were awarded top grades. During the autumn of 2020 they were revised and edited for publication in the series Förtjänstfulla examensarbeten i medie- och Media andCommunication Studies, Lund University kommunikationsvetenskap (FEA), launched by Media and communica- tion studies at Lund University in 2008, in order to bring attention to and reward student research of a particularly high quality. With this publication, we hope to inspire future students who are wri- ting dissertations, as well as contribute to debates inside and outside of academia regarding media, society and culture. In particular, the chapters in this book urge us to critically reflect on what it means to engage with, in and through different media, in different contexts. Through studies of nationalism ‘from below,’ the significance of protest art, affective news engagement practices, the digitalisation of sleep, and virtual celebrity; the chapters emphasise the force of media enga- gement to provide people with common cultural symbols, manifesting nationalism, political issues or fandom; as well a means of mobilisation, entertainment, self-management, interaction and remembering. -
Hong Kong Film Archive E-Newsletter 68
Hong Kong Film Archive e-Newsletter 68 More English translation Publisher: Hong Kong Film Archive © 2014 Hong Kong Film Archive All rights reserved. No part of the content of this document may be reproduced, distributed or exhibited in any form or by any electronic, mechanical, or other means, now known or hereafter invented, or in any information storage or retrieval system, without permission in writing from the publisher. Feature In Full Bloom: The Development of Contemporary Chinese Animation (1) Fung Yuk-sung Introduction In the Chengxi district of Shanghai, couched between Jing’an Temple and Caojiadu, lies Wanhangdu Road, which is around 2,000 metres in length, and used to be called Jisifei’er Road. A number of intellectuals of the Republican period – Hu Shi, Feng Ziyou, Zhang Zhiji – lived here. At the south end of the road is the famed Paramount, still well known today as the most glamorous nightclub of its era. 618 Wanhangdu Road is a Western-style mansion designed like a cruise ship and was widely believed to be the property of the mayor of Shanghai during the Republic. Later it was combined with the mansion next door to the south, left behind by an Englishman, to form a film studio just over 10,000 square metres – the Shanghai Animation Film Studio. In the half-century or so, from the 1950s to the present day, this has been the largest studio for animation production in China, attracting the best people working in the industry. Although much has changed in the industry over the last 30 years since the Central Government’s economic reforms, any study of its history and development will almost certainly focus on this mecca of Chinese animation film.