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China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteristics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced several new stages of development, prompting the question as to where animation in China is heading in the future.
This book describes the history, present and future of China's animation industry. The author divides the business's 95-year history into six periods and analyses each of these from an historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation.
Scholars and students who are interested in the history of Chinese animation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies.
List of contents
I: 1978-1988: Chinese Animation after the Reform and Opening up (I). 1. Overview 2. Creation and Exploration 3. Representative Works 4. Unique Artistic Style 5. Development, Representative Works, and Features of Animation in the 1980s in Hongkong, China 6. The Development of Animation and TV Animation series in the 1980s in Taiwan, China. II: 1989-1999: Chinese Animation after the Reform and Opening Up (II). 7. Overview 8. Creation and Exploration 9. Representative Works 10. Representative Animation Works in Hong Kong, China and their Characteristics in the 1990s 11. Animation Development and Representative Works of Taiwan, China in the 1990s. III: After the year 2000: Chinese Animation Stepping into the New Century. 12. Overview 13. Representative Works 14. Art Short Film 15. Animation Education and Talent Cultivation 16. Summary of the Creation Characteristics in the Period 17. Representative Works of Animation in the Early 21st Century in Hong Kong, China and their Characteristics 18. Representative Works of Animation in Taiwan, China in the Early 21st Century and their Characteristics.
About the author
Sun Lijun, Professor, Vice President of Beijing Film Academy and Presi-dent of China Animation Institute of BFA. He was appointed as the Vice President of BFA in 2012. Sun Lijun is one of the experts who receive State Council special allowance. He has directed several animated feature films, such as The Little Solider, Happy Running, Legend of a Rabbit, and Harvest, among others. Since 2005 his animated feature films have been screened internationally, including at the Berlin International Film Festival, Annecy Film Festival, Ukraine International Film Festival, Seoul International Film Festival, and more. His films have won many top awards both domes-tic and abroad, such as the Best Animated Film of 28th and 29th Golden Rooster Awards, which are the top awards given by Chinese government to the most outstanding and talented artists.
Summary
China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteristics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced several new stages of development, prompting the question as to where animation in China is heading in the future.
This book describes the history, present and future of China’s animation industry. The author divides the business’s 95-year history into six periods and analyses each of these from an historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works, themes, directions, artistic styles, techniques, industrial development, government support policies, business models, the nurturing of education and talent, broadcasting systems, and animation.
Scholars and students who are interested in the history of Chinese animation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies.
