The Propagandist’s Palette: The Art of Manhua Magazine (1950-1960)

Articles, Research Center

Download PDF By Kelly Reiling In June of 1950, the magazine Manhua yuekan 漫画月刊 published its first issue in Shanghai. During the magazine’s lifespan, which lasted until 1960, Manhua yuekan and its cartoonists underwent periods of artistic suppression and expression, enacted by the newly-established Chinese government through a series of political campaigns. The consequences of … Continue reading The Propagandist’s Palette: The Art of Manhua Magazine (1950-1960) →

The Artisanal Sensorial, or Lei Lei’s Geometrical Regime of Animated Images

Articles, Research Center

Download PDF By Dong Yang The aura of contemporary art is a free association. –Nicolas Bourriaud, Relational Aesthetics In one of his later essays “Spinoza and the Three ‘Ethics,’” composed around 1990 and collected in the book Essays Critical and Clinical, Gilles Deleuze offers a mature and profound reading of Spinoza’s Ethics as a composite … Continue reading The Artisanal Sensorial, or Lei Lei’s Geometrical Regime of Animated Images →

A Brief History of Ink-painting Animation in Hong Kong

Research Center, Short Essays

By Ann Y. Y. Leung The world-renowned style of Chinese ink-painting animation emerged in 1960 with the release of Little Tadpoles Look for Mama, produced by the Shanghai Animation Film Studio. In terms of art style, this animation studio released a similar animated short film, The Herd Boy’s Flute in 1963, and then Deer Bell … Continue reading A Brief History of Ink-painting Animation in Hong Kong →

Expresii and the Future of Ink-painting Animation

Inaugural Conference 2020, Interviews

By Isabel Galwey Some of the most famous animations of the socialist period in Mainland China were made using the Shanghai Animation Film Studio’s ink painting animation techniques. Masterpieces such as Little Tadpoles Look for Mama (1960) and Feelings of Mountain and Water (1988) brought traditional paintings to life through painstaking frame-by-frame animation. Since the … Continue reading Expresii and the Future of Ink-painting Animation →

The Exploration of Original Animation in China: From Pleasant Goat to Red Squirrel Mai

Inaugural Conference 2020, Speeches

By Lo Wing Keung; translated by Yixing Li Greetings. I am honored to share my work experience with all of you. Let me begin with a brief self-introduction. When I was 20 years old, I joined Hong Kong TVB as a screenwriter of variety shows, writing scripts for comical skits, television series and movies, and … Continue reading The Exploration of Original Animation in China: From Pleasant Goat to Red Squirrel Mai →

Animators’ Roundtable Forum: Hong Kong Animation, Zoom Webinar, May 12-14, 2022

Description and Program, Hong Kong Animation, Zoom Webinar, May 12-14, 2022

The history of Hong Kong animation has always been translocal and transnational. It can be traced back to at least the late 1940s, when some mainland animators and cartoonists in exile like the Wan Brothers, Zhang Guangyu, Liao Bingxiong, and Te Wei made animated shorts and even experimented with the making of an animated feature film … Continue reading Animators’ Roundtable Forum: Hong Kong Animation, Zoom Webinar, May 12-14, 2022 →

The Father on the Moon (Yueqiu shang de fuqin), by Hu Xiaojiang. Guangzhou: Huacheng, 2021.

Book Reviews, Research Center

By Sean Macdonald    “Humanity is far from understanding itself. The turning point of civilization’s recklessly unrestrained exploration of the abyss of consciousness has been slow to arrive. Actually, we already know that Hell is our ideal way home (31).”[i]                                                              Hu Xiaojiang, The Father on the Moon Before I read this book, I was … Continue reading The Father on the Moon (Yueqiu shang de fuqin), by Hu Xiaojiang. Guangzhou: Huacheng, 2021. →