DOCSLIB.ORG

Copyright Undertaking

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyright Undertaking Copyright Undertaking This thesis is protected by copyright, with all rights reserved. By reading and using the thesis, the reader understands and agrees to the following terms: 1. The reader will abide by the rules and legal ordinances governing copyright regarding the use of the thesis. 2. The reader will use the thesis for the purpose of research or private study only and not for distribution or further reproduction or any other purpose. 3. The reader agrees to indemnify and hold the University harmless from and against any loss, damage, cost, liability or expenses arising from copyright infringement or unauthorized usage. IMPORTANT If you have reasons to believe that any materials in this thesis are deemed not suitable to be distributed in this form, or a copyright owner having difficulty with the material being included in our database, please contact [email protected] providing details. The Library will look into your claim and consider taking remedial action upon receipt of the written requests. Pao Yue-kong Library, The Hong Kong Polytechnic University, Hung Hom, Kowloon, Hong Kong http://www.lib.polyu.edu.hk FROM “MADE IN CHINA” TO “CREATED IN CHINA” – A STUDY OF NURTURING STUDENTS’ CREATIVITY IN ANIMATION EDUCATION IN CHINA MA CHI FAI, HENRY Ph.D The Hong Kong Polytechnic University 2016 The Hong Kong Polytechnic University School of Design From “Made in China” to “Created in China” – A Study of Nurturing Students’ Creativity in Animation Education in China MA CHI FAI, HENRY A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy November 2014 Abstract After China’s reform and opening-up, structural changes were made in cultural development. China started to address the Cultural Industries as a subject for national policy-making in 1998. With the impact of the development of the Creative Industries in the UK and other countries, China adopted the term Cultural and Creative Industry in a national strategy to initiate a structural refinement of the industrial sectors. The animation industry in China has long served as a major OEM (Original Equipment Manufacturer) centre to foreign investors, and was starting to develop into ODM and OBM (Original Design Manufacturers and Original Brand Manufacturers). This led to a rapid demand for creative talent from higher education institutes in China. Animation training in China has had a long tradition of nurturing skillful artists and workers for the OEM market. As the strategic development of the Cultural and Creative Industries in China progressed, the animation industry and the animation education sector received substantial support from the government. Many schools and animation programs emerged. Many scholarly articles indicated that the rapid increase in animation programs created a number of problems. However, nurturing creativity as a core concern for animation education in the context of the creative industries has not been addressed adequately. This creates a knowledge gap in our understanding of the animation education field in China. The objective of this research is to explore the current situation of how higher animation education is nurturing students’ creativity; understand how teachers and students perceive the meaning of creativity in animation education; identify what particular curricula and teaching methodologies teachers are using in animation education in nurturing students’ creativity; generate knowledge to bridge the knowledge gap in nurturing students’ creativity in animation education; and suggest a theoretical framework to help animation educators to improve their teaching for creativity. i Publications Journal papers • Ma, H. (2014) “The Necessary Elements for the Youth in Developing Creative Industries”, Journal of Youth Studies. Vol. 17 Issue 2: pp.3-10 • Ma, H. (2013) “The Opportunities and Challenges of Youth Startup in Creative Industries”, Journal of Youth Studies. Vol. 16 Issue 1: pp.3-11. • Ma, H. (2013) “A Study of Creative Problem Solving Behavior of Design Students“, The International Journal of Pedagogy and Curriculum. Vol. 19 Issue 4: pp. 63-69. Conference papers • Ma, H. (2014) “A Study on Creativity in the Contextual Concern of Creative Industries”, Conference Proceedings: 2014 International Conference on Cultural Creative Industry and e-Business. • Ma, H. (2014) “A Study of Nurturing Students’ Creativity in Animation Education in China”, Conference Proceedings: International Conference on Education and Social Sciences. • Ma, H. (2013) “The Cultural and Creative Industries Development in China”, Conference Proceedings: 2013 Annual Conference on Management and Social Science. ii Acknowledgements I would like to send my hearty thanks to all my supervisors, including the late Prof. John Heskett, Prof. Lorraine Justice, and Prof. Timothy Jachna, on their patience and mentoring in my journey of knowledge finding. iii Table of contents Abstract ..................................................................................................................................... i Publications .............................................................................................................................. ii Acknowledgements ................................................................................................................. iii Table of contents .................................................................................................................... iv List of Figures ........................................................................................................................ viii List of Tables ........................................................................................................................... ix Chapter 1 Objective and Purpose Statement .......................................................................... 1 1.1 Introduction and Overview ........................................................................................ 1 1.2 Background and Context ............................................................................................ 3 1.3 Knowledge Gap in Animation Education Research .................................................. 10 1.4 Statement of Purpose and Research Questions ...................................................... 12 1.5 Research Approach and Design ............................................................................... 14 1.6 Chapter Summary .................................................................................................... 17 Chapter 2 The Development of Animation Education in China ............................................. 19 2.1 Introduction and Overview ...................................................................................... 19 2.2 Creative Industries ................................................................................................... 19 2.3 Cultural and Creative Industries in China................................................................. 22 2.4 Animation Industries in China .................................................................................. 23 2.5 Animation Education in China .................................................................................. 28 2.5.1 The Development of Animation Education ........................................................... 28 2.5.2 Issues in Animation Education Development ....................................................... 33 2.5.3 Creativity Research on Animation Education in China ......................................... 36 2.6 Chapter Summary .................................................................................................... 39 Chapter 3 Teaching for Creativity .......................................................................................... 40 3.1 Introduction and Overview ...................................................................................... 40 3.2 Creativity .................................................................................................................. 40 3.2.1 Definition of Creativity .......................................................................................... 41 3.2.2 Study Approaches of Creativity ............................................................................. 42 3.2.3 Categories of Creative Magnitude ........................................................................ 42 3.2.4 Six Ps of Creativity ................................................................................................. 43 3.2.5 Major Approaches on Creativity Research ........................................................... 45 3.3 Creativity Education ................................................................................................. 47 3.3.1 Historical Development of Creativity Education ................................................... 48 iv 3.3.2 The Importance of Creativity in Education ........................................................... 50 3.3.3 Education Institutes Inhibit Creativity .................................................................. 51 3.3.4 Teachers’ Conception of Creativity ....................................................................... 52 3.3.5 Creativity and Culture ........................................................................................... 53 3.3.6 Creative Teaching and Teaching for Creativity ..................................................... 54 3.3.7 Different Approaches on Teaching for Creativity
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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 ...........................................................................................
    [Show full text]
  • Animation Program History in Fine ART Schools of China
    Asian Culture and History; Vol. 6, No. 2; 2014 ISSN 1916-9655 E-ISSN 1916-9663 Published by Canadian Center of Science and Education Animation Program History in Fine ART Schools of China Yang Cao1 1 Nanjing Normal University Fine Art School, Nanjing, China Correspondence: Yang Cao, Nanjing Normal University Fine Art School, 1st Wen Yuan Road, Nanjing 210046, Jiangsu, China. Tel: 86-25-8579-4105. E-mail: [email protected] Received: March 2, 2014 Accepted: March 26, 2014 Online Published: April 14, 2014 doi:10.5539/ach.v6n2p16 URL: http://dx.doi.org/10.5539/ach.v6n2p16 Abstract The animation industry of China has developed windingly almost 50 years in 20 century, finally obtained the eruption -like growth in the beginning 21st century. Talent cultivation is one of the important elements of Chinese Animation industry, thus animation education also obtained the stimulation. More and more fine art schools began to have animation program after 2000. This paper studies a brief history of animation professionals in Fine Art Schools of China, and the relationship between fine art schools and animation subject. However the number of schools expanded, but the quantity cannot guarantee quality of education, most Fine art schools are relying on the University-Industry Collaboration teaching mode, but in the fact beneath the brilliant achievements, fine art schools need to sum up teaching experience and education theory different from animation industry. The period of Animation program expanding in Fine Art Schools is almost over, but the period for education quality is coming. How to improve the animation education quality become the most important situation to all Fine Art Schools have animation program.
    [Show full text]
  • Scanned Using Book Scancenter 5131
    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.
    [Show full text]
  • "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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A Modern Miscellany Ideas, History, and Modern China
    A Modern Miscellany Ideas, History, and Modern China Edited by Ban Wang (Stanford University) Wang Hui (Tsinghua University) Volume 12 The titles published in this series are listed at brill.com/ihmc A Modern Miscellany Shanghai Cartoon Artists, Shao Xunmei’s Circle and the Travels of Jack Chen, 1926–1938 By Paul Bevan LEIDEN | BOSTON Cover illustration: Anon, Shanghai Fengjing 上海風景 (Shanghai Landscape), in Shidai manhua 時代漫畫 (“Modern Sketch”) no. 1 (15 April 1934) [p. 23]. Modern Sketch (Shidai manhua); Colgate University Libraries Digital Collections, with permission. Library of Congress Cataloging-in-Publication Data Bevan, Paul, Ph. D., author. A modern miscellany : Shanghai cartoon artists, Shao Xunmei’s circle and the travels of Jack Chen, 1926–1938 / By Paul Bevan. pages cm. — (Ideas, History, and Modern China ; volume 12) Outgrowth of the author’s thesis (Ph. D.—University of London, School of Oriental and African Studies, 2012) under title: Manhua artists in Shanghai 1926–1938 : from art-for-art’s-sake to wartime propaganda. Includes bibliographical references and index. ISBN 978-90-04-30793-3 (hardback : alk. paper) — ISBN 978-90-04-30794-0 (e-book) 1. Caricatures and cartoons—China—Shanghai—History—20th century. 2. Art and society—China— Shanghai—History—20th century. 3. Art—Political aspects—China—Shanghai—History—20th century. 4. Shao, Xunmei, 1906–1968—Friends and associates. 5. Chen, Jack, 1908–1995. I. Title. NC1696.B48 2016 741.5951’1320904—dc23 2015031754 Brill has made all reasonable efforts to trace all rights holders to any copyrighted material used in this work. In cases where these efforts have not been successful the publisher welcomes communications from copyright holders, so that the appropriate acknowledgements can be made in future editions, and to settle other permission matters.
    [Show full text]
  • Chi 4930 Animation in China
    CHI 4930 ANIMATION IN CHINA MAT 0115— T 7 (1:55-2:45) MAT 0115— R 7-8 (1:55-2:45; 3-3:50) instructor: Professor Macdonald <http://www.languages.ufl.edu/faculty/macdonald.html> office hours: TR 4 (10:40-11:30) or by appointment office: Pugh 304 email: please use CANVAS (or for emergency [email protected] ) tel: 392-7083 Course Description This is a visual culture course that focuses on animation in China. Animation in China begins in the 1920s, with existent animation dating from the 1930s, and the first feature length animated film produced under wartime occupation in 1941. Until the 1980s the Shanghai Animation Film Studio (SAFS) was the sole animation studio in the People’s Republic of China (PRC). Animation was largely a non-commercial form supposedly aimed at children and most of the classics of animation from China were produced during the revolutionary period (1949-1976). However, SAFS productions are still referenced by contemporary animation, making this historic form a very important example of postmodernist cultural production “with Chinese characteristics.” It took academic film studies and mainland auteur filmmakers until the 1980s to discover genre and popular cinema. Ironically the modest media that make up the animation industry in China had always worked with traditional themes represented by the solid lines and bright colors of cel, stop-motion and papercut animation. Course Objectives To introduce students to animation in China as history and concept. This course aims to introduce students to the theoretical vocabulary of animation studies that overlaps with a range of fields within art history, film and media studies, and literary studies.
    [Show full text]
  • Animation Films in China
    ANIMATION FILMS IN CHINA Yongliang Xiao and Daniela Pillgrab In beginning of 2011, Chinese animated movie, The Dreams of Jinsha, produced from Hangzhou, has been accepted for nominee to run for an Oscar award for the Best Animated Feature Film. It is very significant to Chinese animation industry since this is the first time in nation’s history that an animated film has ever accepted by Academy™ to compete with those giant including Dreamworks' Shrek Forever After and Disney-Pixar's Toy Story 3. In May of 2009, the Fifth China International Cartoon Festival enticed 780,000 people from 38 different countries to the same city, a Chinese renowned animation metropolis Hangzhou. Among 1.3 billion Chinese, according to "2007-2008 Analysis and Investment Consulting report of China's cartoon industry", there are at least 50 million cartoon consumers. However, the situation of the Chinese animation industry has not always been like that: although it was a Chinese who invented around 180 A. D. the first zoetrope– the so called “pipe which makes fantasies appear,” and although the first Chinese animated films where released in Shanghai in the 1920s with considerable success, the animation industry had difficulties in the last few years to assert itself on the domestic market: “Yet for all of the disruption of the Cultural Revolution, which plunged this country into severe political turmoil and international isolation from 1966 to 1976, China is not so much coming from way behind in the animation business as it is reviving a long vibrant tradition,“ states Howard W. French in an article, published by The New York Times in 2004.
    [Show full text]
  • Seeking Truth in Facts: Historicizing Chinese Animation." Global Animation Theory: International Perspectives at Animafest Zagreb
    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.
    [Show full text]