國立虎尾科技大學 |

Chinese Independent Animation = Renegotiating Identity in Modern China /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Chinese Independent Animation/ by Wenhai Zhou.
其他題名:	Renegotiating Identity in Modern China /
作者:	Zhou, Wenhai.
面頁冊數:	XII, 222 p. 42 illus.online resource. :
Contained By:	Springer Nature eBook
標題:	Asian Cinema and TV. -
電子資源:	https://doi.org/10.1007/978-3-030-40697-4
ISBN:	9783030406974

Chinese Independent Animation = Renegotiating Identity in Modern China /
Zhou, Wenhai.

Chinese Independent AnimationRenegotiating Identity in Modern China /[electronic resource] :by Wenhai Zhou. - 1st ed. 2020. - XII, 222 p. 42 illus.online resource. - Palgrave Animation,2523-8086. - Palgrave Animation,.

Introduction -- ‘Postsocialism’ and ‘Independence’ -- Chapter 1: A dispersed 'independent' ecology -- 1.1 The Meishu Legacy -- 1.2 An Emergent ‘Animation Industry’ -- 1.3 The Pioneer of Chinese Independent Animation – Shanke -- 1.4 Toward an ‘Ecological’ Conception of Independent Animation -- Chapter 2: Understanding the Ecology of Independent Chinese Animation within the context of China's Post-Socialist Reality -- 2.1 Minjian Individuality -- 2.2 From production pipeline to platform: the CIAFF -- 2.3 Conclusion: Assembling Ambiguous Contradictions -- Chapter 3: The Imaginative World of Pisan -- 3.1 Pisan – Redefining ‘Independence’ -- 3.2 An Icon of Resistance – Kuangkuang -- 3.3 Parallel ‘Realities’ in Miss Puff -- 3.4 ‘Parallel’ Responses of Pisan Within the Chinese Media Ecology -- 3.5 Conclusion -- Chapter 4: Lei Lei: A 'third way': Lei Lei and the Festival circuit -- 4.1 The journey towards independence -- 4.2 Early ‘rebellion’ through animation Face (2007) -- 4.3 Post-socialist ‘reality’ and collective ‘identity’ -- 4.4 Lei Lei's Transcendent Response to the Media Ecology -- 4.5 Conclusion -- Chapter 5: The Future Prospect of the Chinese Independent Animation Ecology -- 5.1 The mainstream path: a national ideology of Chineseness -- 5.2 The evolving independent path: disoriented individual identity -- 5.3 An ideological mirror: Piercing I -- 5.4 Conclusion -- Chapter 6: Conclusion. .

This study of ‘independent’ animation opens up a quietly subversive and vibrant dimension of contemporary Chinese culture which, hitherto, has not received as much attention as dissident art or political activism. Scholarly interest in Chinese animation has increased over the last decade, with attention paid to the conventional media circle of production, distribution and consumption. The ‘independent’ sector has been largely ignored however, until now. By focusing on distinctive independent artists like Pisan and Lei Lei, and situating their work within the present day media ecology, the author examines the relationship between the genre and the sociocultural transformation of contemporary China. Animation, the author argues, has a special significance, as the nature of the animation text is itself multilayered and given to multiple interpretations and avenues of engagement. Through an examination of the affordances of this ‘independent’ media entity, the author explores how this multifaceted cultural form reveals ambiguities that parallel contradictions in art and society. In so doing, independent animation provides a convenient ‘mirror’ for examining how recent social upheavals have been negotiated, and how certain practitioners have found effective ways for discussing the post-Socialist reality within the current political configuration.

ISBN: 9783030406974

Standard No.: 10.1007/978-3-030-40697-4doiSubjects--Topical Terms:

1227744
Asian Cinema and TV.

LC Class. No.: NC1765-1766

Dewey Class. No.: 791.4334

Chinese Independent Animation = Renegotiating Identity in Modern China /
LDR:04280nam a22004095i 4500 001 1019739
003 DE-He213
005 20200630144601.0
007 cr nn 008mamaa
008 210318s2020 gw | s |||| 0|eng d
020 $a 9783030406974 $9 978-3-030-40697-4
024 7 $a 10.1007/978-3-030-40697-4 $2 doi
035 $a 978-3-030-40697-4
050 4 $a NC1765-1766
072 7 $a APFV $2 bicssc
072 7 $a PER004000 $2 bisacsh
072 7 $a ATFV $2 thema
082 0 4 $a 791.4334 $2 23
100 1 $a Zhou, Wenhai. $e author. $4 aut $4 http://id.loc.gov/vocabulary/relators/aut $3 1315066
245 1 0 $a Chinese Independent Animation $h [electronic resource] : $b Renegotiating Identity in Modern China / $c by Wenhai Zhou.
250 $a 1st ed. 2020.
264 1 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2020.
300 $a XII, 222 p. 42 illus. $b online resource.
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
347 $a text file $b PDF $2 rda
490 1 $a Palgrave Animation, $x 2523-8086
505 0 $a Introduction -- ‘Postsocialism’ and ‘Independence’ -- Chapter 1: A dispersed 'independent' ecology -- 1.1 The Meishu Legacy -- 1.2 An Emergent ‘Animation Industry’ -- 1.3 The Pioneer of Chinese Independent Animation – Shanke -- 1.4 Toward an ‘Ecological’ Conception of Independent Animation -- Chapter 2: Understanding the Ecology of Independent Chinese Animation within the context of China's Post-Socialist Reality -- 2.1 Minjian Individuality -- 2.2 From production pipeline to platform: the CIAFF -- 2.3 Conclusion: Assembling Ambiguous Contradictions -- Chapter 3: The Imaginative World of Pisan -- 3.1 Pisan – Redefining ‘Independence’ -- 3.2 An Icon of Resistance – Kuangkuang -- 3.3 Parallel ‘Realities’ in Miss Puff -- 3.4 ‘Parallel’ Responses of Pisan Within the Chinese Media Ecology -- 3.5 Conclusion -- Chapter 4: Lei Lei: A 'third way': Lei Lei and the Festival circuit -- 4.1 The journey towards independence -- 4.2 Early ‘rebellion’ through animation Face (2007) -- 4.3 Post-socialist ‘reality’ and collective ‘identity’ -- 4.4 Lei Lei's Transcendent Response to the Media Ecology -- 4.5 Conclusion -- Chapter 5: The Future Prospect of the Chinese Independent Animation Ecology -- 5.1 The mainstream path: a national ideology of Chineseness -- 5.2 The evolving independent path: disoriented individual identity -- 5.3 An ideological mirror: Piercing I -- 5.4 Conclusion -- Chapter 6: Conclusion. .
520 $a This study of ‘independent’ animation opens up a quietly subversive and vibrant dimension of contemporary Chinese culture which, hitherto, has not received as much attention as dissident art or political activism. Scholarly interest in Chinese animation has increased over the last decade, with attention paid to the conventional media circle of production, distribution and consumption. The ‘independent’ sector has been largely ignored however, until now. By focusing on distinctive independent artists like Pisan and Lei Lei, and situating their work within the present day media ecology, the author examines the relationship between the genre and the sociocultural transformation of contemporary China. Animation, the author argues, has a special significance, as the nature of the animation text is itself multilayered and given to multiple interpretations and avenues of engagement. Through an examination of the affordances of this ‘independent’ media entity, the author explores how this multifaceted cultural form reveals ambiguities that parallel contradictions in art and society. In so doing, independent animation provides a convenient ‘mirror’ for examining how recent social upheavals have been negotiated, and how certain practitioners have found effective ways for discussing the post-Socialist reality within the current political configuration.
650 2 4 $a Asian Cinema and TV. $3 1227744
650 1 4 $a Animation. $3 1112813
650 0 $a Motion pictures—Asia. $3 1254171
650 0 $a Animated films. $3 571281
710 2 $a SpringerLink (Online service) $3 593884
773 0 $t Springer Nature eBook
776 0 8 $i Printed edition: $z 9783030406967
776 0 8 $i Printed edition: $z 9783030406981
776 0 8 $i Printed edition: $z 9783030406998
830 0 $a Palgrave Animation, $x 2523-8086 $3 1298428
856 4 0 $u https://doi.org/10.1007/978-3-030-40697-4
912 $a ZDB-2-LCM
912 $a ZDB-2-SXL
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)
950 $a Literature, Cultural and Media Studies (R0) (SpringerNature-43723)