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Seeking Truth in Facts: Historicizing Chinese Animation. Bobrowska, Olga. "Seeking Truth in Facts: Historicizing Chinese Animation." Global Animation Theory: International Perspectives at Animafest Zagreb. Ed. Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji# and Hrvoje Turkovi#. New York: Bloomsbury Academic, 2019. 61–82. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781501337161.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 14:45 UTC. Copyright © Franziska Bruckner, Nikica Gili#, Holger Lang, Daniel Šulji#, Hrvoje Turkovi#, and Contributors and Cover image Zlatka Salopek 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Seeking Truth in Facts Historicizing Chinese Animation Olga Bobrowska Introduction In the course of my research the initial approach based on the contextual analysis of historical development of animation in the People’s Republic of China ( PRC ) had to be complemented with an attempt to reconstruct the entanglement of particular, ideologically determined cultural narratives (e.g. festival programming, academic discourse) and the specifi c apparatus of artistic production. This paper attempts to critically review the established narration on Chinese animation canon as mirrored in the West. 1 As early as 1971 the infl uential French scholar Marc Ferro talked about fi lm’s status as history and acknowledged sources deriving from the fi eld of popular culture and non- material culture as a historical evidence that mirrors transformations occurring within the ideologically conditioned apparatus of culture production (cf. Ferro 2008). The contemporary Estonian scholar and artist, Ü lo Pikkov ( 2010 ) in fact argues for similar analytical strategy. His term animasophy describes an approach focused on the interconnection of animated forms and human collective practices. The strength of Pikkov’s writings lies in a capacity to demonstrate theoretical thinking through consequent case study analysis. 1 Thanks to the support of many academics, experts and fi lmmakers, as well as visits to China in 2015 and 2016, I have collected much of the necessary material (primarily fi lms from the Shanghai Animation Film Studio, SAFS ; 1955–1989). I am thankful to many academics and artists for their support and encouragement, among them Alicja Helman, Guo Chunning, Li Yi, Georges Schwizgebel and Daniel Š ulji c´ . 61 62 GLOBAL ANIMATION THEORY This scholar provides the audiences of artistic shorts with a set of conceptual tools enabling them to decipher the concatenation of authorial subjectivity, cultural practices and particular industry specifi cities, in other words to simultaneously perceive an animated fi lm as an individual work of art, and a certain anthropological record of historically and culturally determined momentum. Considering and respecting the necessity of comprehending the formal aspects of animation art, the researcher should nevertheless stay committed to locating the phenomenon of the creation of illusionary movement in the net structure of experiences, recollections, myths and ideas that construct and explain humanity’s activities and interactions. The archives of fi lm festivals and fi lm studios’ records, distributors’ promotional materials and fi lm magazines fi lled with audience surveys and report sections, along with interviews with the widest possible group of contributors, might shed a unique light on the process of the crystallization of the canon as these sources do not interpret the texts of culture (fi lm works themselves), but historically explain the specifi c event of the text’s conception and collective interpretation ( Staiger 2008 [1992] ). Film Festival Studies is a sub- fi eld of cinema studies that provides complex and inspiring tools for the intellectual practice of analysing the phenomenon of the festival as an integral element of canon establishment and dissemination. This chapter outlines several problems of Chinese animated classics’ ideological status and their position in the historical reception as recapitulated in the English language source literature, yet it is equally important to confront academic sources with the evidence found in the archives (‘the evidence of the momentum’). This chapter will also attempt to examine and revise the notion of ‘the 1980s Chinese animation crisis’ with the aid of the printed materials produced by Animafest Zagreb, one of the chief meeting points between different traditions and schools of animation, between 1980 and 1988. Animation and cultural nationalism, or the origins of minzu style An outline of the historical development of Chinese animation reconstructed in reference to the source literature indicates fi ve major phases: the pioneering experiments of the Wan brothers 2 and the establishment of the SAFS 2 The brothers, born in Nanjing, worked in Shanghai. Twins Laiming and Guchan (з㉱呓 , зਔ㸮 ), Chaochen ( з䎵ቈ ) and Dihuan ( з⏔ሠ ) worked together on commercials and experimented with artistic animation. Havoc in Heaven ( Da nao tian gong / བྷ䰩ཙᇛ , 1961–64), an adaptation of the fi rst part of the literary classic, Journey to the West ( Xiyou ji / 㾯⑨䇠 ), was a lifetime achievement of Laiming. Guchan was a pioneer of cut- out animation, while Chaochen worked with puppets. Dihuan collaborated with them in the early period, but later worked in the fi eld of photography. SEEKING TRUTH IN FACTS 63 (Shanghai Animation Film Studio) structures (1922–1957); development of the minzu style period commonly referred to as the ‘golden age’ (1955– 1966); the dreadful gap caused by the turmoil of the Cultural Revolution (1966–1976); the ‘second golden age’ (from 1976 until the 1980s or early 1990s); and ‘the crisis of the 1980s’ with the climax in 1987 that marks disintegration of the SAFS . Naturally such periodization is interconnected with the upheavals and historical turning points experienced by Chinese society during the overlapping time formations that can be described as the period of the Republic (1912–1949), the Japanese occupation (1931/37– 1945), civil war (two stages: 1927–1937 and 1945–1949), Mao Zedong’s rule (1949–1976) and the opening up and reform period (1976/78–mid 1990s). In an inspiring study, Animation in China: History, Aesthetics, Media , Sean Macdonald declares an attempt of historicizing animation history ( Macdonald 2016 : 3). The structure of this publication and fi lms chosen for analysis and interpretation suggest a non- orthodox approach towards the accepted historical narrative. Macdonald acknowledges: ‘The Wan Brothers were the fi rst animators in China, but the story of animation in the PRC is the story of the SAFS ( Macdonald 2016 : 3) and, like other scholars and admirers of the Chinese classic animation, he recognizes the utmost signifi cance of the minzu style. Macdonald’s meticulous research itself could be described as animasophic . SAFS mass artistic production mirrors and exemplifi es ideological turns that have been infl uencing all aspects of social, political and cultural practices of everyday life throughout each historical stage, so Macdonald attempts to unveil the shifts of the doctrine through the analysis of fi lms and the fi lm critique discourse of the period. In addition to this, he refl ects on the modes of the comprehension of these fi lms in the fi elds of Sinology and Chinese Studies. It is necessary to briefl y explain the liaisons between animation artists and the Communist Party of China (CPC ) before we ponder over the fascinating phenomenon of minzu style and its ideological inclinations. The history of Chinese animation starts with experiments of the Wan brothers but the history of animation’s ideological engagement has even earlier origins. The fi gure of Te Wei (⢩Տ , 1915–2010), a doyen of Chinese animation and most widely recognized SAFS artist, stands as a representative as his life and work directly connect animated fi lm with its signifi cant and ideologically engaged ancestor, the art of manhua ( ╛⭫ , graphic cartoons). Te Wei was born in the year that marks a crucial moment for the emergence of the New Culture Movement, i.e. the release of the fi rst issue of New Youth ( Xin qingnian / ᯠ䶁ᒤ ). Progressive, patriotic and educated youth gathered around Chen Duxiu ( 䱸⤜⿰ , 1879–1942), an early leader of the CPC and editor- in-chief of New Youth , who postulated anti- imperialist struggle and cultural modernization, the implementation of necessary social conduct that would embrace both revolutionary intellectuals and peasant 64 GLOBAL ANIMATION THEORY masses. The press, theatre and caricature served as a tool of communication inside the highly stratifi ed society. Historians point out the strong polarization of Chinese public discourse and the radicalization of social and political life since 1928 when the Guomindang (GMD ) government was installed in Nanjing. Te Wei was born in Shanghai, a cosmopolitan metropolis pulsating to the beats of international business and popular culture; importantly, it was also a centre of manhua publishing houses. He worked as a graphic artist and, along with many other creators, Te Wei engaged his talent into initially the political, and eventually the military, fi ght for leftist ideals, the rise of class awareness and combat with the Japanese occupation. In 1937 the artists of the so- called National Salvation Cartoons group proclaimed a propagandistic military division under the auspices
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