A View of the Definition, Origination and Development of the Term ‘Chinese School of Animation’

Huang, Jifeng

doi:10.1177/17468477221114366

Cited by 2 publications

(5 citation statements)

References 10 publications

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“…featuring rich elements of Chinese culture' (Wei, 2023) and 'sticking to the "Chinese Animation School", inheriting traditional culture, and exploring the Chinese style' (STVF, 2023). Interpreting the Chinese School of Animation in this context, to borrow from Huang's (2022) recent discussion, appears somewhat reductive. 'Goose' should be viewed as a production that adheres to the minzu style, but not one that is strictly associated only with cultural heritage and the enhancement of cultural confidence.…”

Section: Discussionmentioning

confidence: 99%

“…Scholars often associate this school with the development of the minzu style, emphasizing its unique attributes and the collective identity of artists (Yin, 1988). Huang (2022) challenges this conventional definition of the 'Chinese School of Animation', arguing that portraying it as a collection of meishu films with a minzu style reflects a collectivist stance rooted in socialist China. He contends that this view downplays individual contributions, particularly by canonizing Shanghai Animation Film Studio (SAFS) films, disconnecting the 'Chinese School' from its historical and industrial contexts.…”

Section: Zhiguai's Extension To Animation the Minzu/national Style In...mentioning

confidence: 99%

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From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

Aiqing,

Whyke

2024

Animation

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This study delves into the use of visual rhetorical strategies in 中国奇谭 Zhongguo Qitan ‘Yao-Chinese Folktales’ (2023), particularly focusing on 鹅鹅鹅 E E E ‘Goose Mountain’ (henceforth ‘Goose’) directed by Hu Rui. We assert that ‘Goose’ transcodes and reinterprets the ancient Chinese zhiguai novella 阳羡书生 Yangxian Shusheng ‘The Scholar from Yangxian’ (henceforth ‘Scholar’) for a contemporary audience through the use of visual rhetoric, leading to a compelling contemporary rendition of this tale. As a silent animation, ‘Goose’ does so by adeptly incorporating visual depictions, especially animal-related imagery and ink painting aesthetics, drawn from the broader traditional zhiguai myths, or tales of the strange and traditional Chinese culture. The core argument hinges on visual rhetoric’s transformative potential. In ‘Goose’, the connection between tradition and contemporaneity is established through metaphor and metonymy. Initially a literary figure of speech, metaphor and metonymy now encompasses ‘visual rhetoric’, widely applied in interpreting visual arts. Visual rhetoric often employs various elements such as colour, shape, size, objects, composition and texture to convey information. This study highlights the role played by the inseparable link between traditional zhiguai narratives, the minzu/national style, and the contemporary animation technology in ‘Goose’, a transformative role that revitalizes ancient traditions to resonate with today’s viewership.

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Section: Discussionmentioning

confidence: 99%

Section: Zhiguai's Extension To Animation the Minzu/national Style In...mentioning

confidence: 99%

From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

Aiqing,

Whyke

2024

Animation

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“…The Crow Incident, as an historical reconstruction, is fragmental and lacks evidence. It is based on what Huang (2022: 329) called the ‘foreigners-(usually anonymous experts)-said-that’ narrative. This narrative was prevalent in socialist and early post-socialist China; during this period, international communication was restricted, and Chinese people used to believe that the Soviet and Western countries were more advanced; therefore ‘foreign expert(s)’ signified technological and academic authority.…”

Section: Discussionmentioning

confidence: 99%

“…Jin’s article marked the revitalization of the Chinese School of Animation in Chinese academia in the new century (see Huang, 2022: 325), which endows this interview with significant status in studies of the Chinese School of Animation. The connection between the Crow Incident and the foundation of the Chinese School of Animation was further strengthened.…”

Section: The Origins Of the Story Of The Crow Incidentmentioning

confidence: 99%

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The Reconstructed History of the Foundation of the Chinese School of Animation: A Textual Criticism on the ‘Crow Incident’

Jifeng,

Baochuan

2023

Animation

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The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei’s film The Conceited General in 1956. However, many of the widely believed ‘facts’ in this narrative are false. There is no evidence of an actual award, nor of the mis-identification of Why Is the Crow Black. A series of false assumptions have converged to form an entirely mistaken narrative of causality that the Crow’s reception transformed the production of the General. This narrative has become ingrained in Chinese animation historiography, and the doubters remain marginal. This article argues that the ‘Crow Incident’ was a 1980s fabrication, arising from transcultural misunderstandings, translation errors, and perhaps even deliberately misleading assertions. The alleged Crow Incident has been used to explain and justify the urgency and necessity of exploring the Chinese minzu style in the 1950s, yet it devalues the subjectivity, initiative and self-awareness of Chinese animators.

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A View of the Definition, Origination and Development of the Term ‘Chinese School of Animation’

Cited by 2 publications

References 10 publications

From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

From Ancient Zhiguai Tales to Contemporary Animation: A Study of Visual Rhetoric in ‘Yao-Chinese Folktales’ (2023)

The Reconstructed History of the Foundation of the Chinese School of Animation: A Textual Criticism on the ‘Crow Incident’

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