China’s role in the history of world animation has been trivialized or largely forgotten. In Animated Encounters Daisy Yan Du addresses this omission in her study of Chinese animation and its engagement with international forces during its formative period, the 1940s–1970s. She introduces readers to transnational movements in early Chinese animation, tracing the involvement of Japanese, Soviet, American, Taiwanese, and China’s ethnic minorities, at socio-historical or representational levels, in animated filmmaking in China. Du argues that Chinese animation was international almost from its inception and that such border-crossing exchanges helped make it “Chinese” and subsequently transform the history of world animation. She highlights animated encounters and entanglements to provide an alternative to current studies of the subject characterized by a preoccupation with essentialist ideas of “Chineseness” and further questions the long-held belief that the forty-year-period in question was a time of cultural isolationism for China due to constant wars and revolutions.
China’s socialist era, known for the pervasiveness of its political propaganda and suppression of the arts, unexpectedly witnessed a golden age of animation. Socialist collectivism, reinforced by totalitarian politics and centralized state control, allowed Chinese animation to prosper and flourish artistically. In addition, the double marginality of animation—a minor art form for children—coupled with its disarming qualities and intrinsic malleability and mobility, granted animators and producers the double power to play with politics and transgress ideological and geographical borders while surviving censorship, both at home and abroad.
A captivating and enlightening history, Animated Encounters will attract scholars and students of world film and animation studies, children’s culture, and modern Chinese history.
具体描述
读后感
用户评价
重写动画史的尝试，着眼于1940-70年代中国动画发展的“动态”面。前两章分别讨论“中对日”和“日对中”两个方向的交流影响；第三章从水墨动画内部出发重构inter/national；第四章抓住动物形象在浩劫前后消失与出现之间的变化，点出解读这一时期动画电影的新视角。个人读起来感觉渐入佳境，大概还是喜欢带有挑战或更新史观/理论视角的分析吧。
评分本书挑战主流动画史单一的、垄断的民族风格论述，强调人、技术、风格等跨国/跨界流动，扎实有新意。导论，动画之边缘地位、流动特性带来的权力、灵活与艺术创造力，同时其技术、美学的流动及造成的动画接触地带，挑战了单一的民族风格论述 chapter1 旅行与性别理论棱镜下铁扇公主的民族身份的暧昧性与其对日本动画的深远影响 chapter 2 持永参与社会主义动画的早期实践，其日本身份、动画风格、左翼思想可反思动画民族性/跨国性实践，chapter 3 民族风格概念之流动与不稳定，破除民族风格的两个神话/谣言，挖掘被民族风格片压抑的国际风格片，水墨动画的评价取决于政治语境（《牧笛》的细读值得借鉴） chapter4 从动物的消失，转喻与再现重新审视文革，僭越民族内部的物种、阶级与种族的边界
评分豆瓣竟然有……
评分豆瓣竟然有……
评分噴飯。
相关图书
本站所有内容均为互联网搜索引擎提供的公开搜索信息，本站不存储任何数据与内容，任何内容与数据均与本站无关，如有需要请联系相关搜索引擎包括但不限于百度，google,bing,sogou 等
© 2025 onlinetoolsland.com All Rights Reserved. 本本书屋 版权所有