The Discourse of Independent Animation in the Contemporary Chinese Context

Abstract

Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework.

The Effect of Product Placement in Animation on Generation Z Consumers

“…In the past few decades, several researchers have studied the effect of product placement on movies [3], television programs [4,5], online games [6], and other social media [7,8]. Different from other media, animation is a special form of media that grants one the fantastic ability present any imaginary subject, allowing product placement to break free from the constraints of "reality" [9]. In animation, the implantation forms can be more diverse, such as using parody and humorous ways to change the real product design, allowing the products to better fit the plot [10].…”