By Cui Zhou “The immortal’s saddle beast had the head of a unicorn, the tail of a wolf, and the body of a drag … 続きを読む The Nondescript: Hybridization in the Animated Feature Film The Legend of Deification (2020)
By Shaopeng Chen Historically speaking, Chinese animated films have always targeted children and ignored their … 続きを読む Adults as Audience: A Review of The Guardian
By Rebecca Liptay and Shannon Brownlee Feelings of Mountains and Rivers (Shanshui qing, Te Wei, 1988)[1]& … 続きを読む Feelings of Mountains and Rivers: Minimalism and Monumentalism in Motion
By Olga Bobrowska “Look how nice it is to be Monkey King. No parents, no control. Just do as he will. And no s … 続きを読む The Ambiguous Superhero in Wan Laiming’s Havoc in Heaven
By Shannon Brownlee California-based Pixar Animation Studio is not, at first glance, a likely producer of Chin … 続きを読む Chinese Diasporic Life: A Review of Bao
By Lokyi Tsoi My Life As McDull is the first attempt to make a full-length animation film of the McDull s … 続きを読む The Question of Hong Kong Identity in My Life As McDull
By Hang Wu Animation renders visible the nonhuman energy that is otherwise hidden. The visualization of this n … 続きを読む Visual Effects and the Enchanted Technique of Elements: A Review of Ne Zha
By Maggie Chunning Guo The animated film Next Gen, released in 2019, presents a series of dualisms, such as st … 続きを読む Next Gen: Out-of-control “Prototype Memory” in a Futuristic Machine City
By Ying Chen Princess Iron Fanis the first Chinese animated feature film produced by the Wan Brothers at Xinhu … 続きを読む Transborder Fairy Tales: Princess Iron Fan and the Discourse of Children
By Linda C. Zhang In 1958, the Shanghai Animation Film Studio released a 35-minute, color, stop-motion puppet … 続きを読む “Our Comrade Sun Wukong”: On Fantasy and Exaggeration in Mountain of Flames