By Xiaochang Liang In the summer of 2026, the CGI (computer-generated-imagery) animated film Niulai (牛来, dir. … 続きを読む When Low-Tech Becomes an Attraction: Anachronistic Technique and Glitched Spectacle in Niulai (2026)
By Thomas William Whyke The opening episode of Yao-Chinese Folktales (Season 2), titled How to Becom … 続きを読む Review of How to Become Three Dragons (2026)
By Ying Zhu With a world-wide box-office of US$2,259,822,417, Ne Zha 2 (Yu Yang, 2025), a story about the myth … 続きを読む Ne Zha 2 and the Good China Story
By Thomas William Whyke, Zhennuo Song, Zhaoyu Zhu, and Yibo Fan Jiao Zi’s Nezha 2 (2025) rep … 続きを読む Redefining Chinese Animation: A Review of Nezha 2 (2025)
By Mihaela Mihailova Since its US release in February 2025, the Chinese computer-generated feature Ne Zha 2 (Y … 続きを読む Spectacular Digital Maximalism: Some Thoughts on Ne Zha 2 (2025)
By Shasha Liu Released in 1978, the animated film One Night in the Art Gallery (画廊一夜, Hualang Yiye, hereafter … 続きを読む Reconstructing Media Specificity: A Review of One Night in the Art Gallery
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