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
By Liang Luo The 2019 animated film White Snake: Origins (Baishe yuanqi), co-produced by Beijing-based L … 続きを読む Queering an Icon, Becoming a Demon: A Review of White Snake: Origins
By Yiman Wang Liu Jian, a Nanjing-based animator and director with a background in painting, has single-handed … 続きを読む The Animation that Deconstructs Itself—Liu Jian’s Piercing I and Have a Nice Day
By Jianhua Chen; translated by Isabel Galwey The first ten years of the twenty-first century have passed in a … 続きを読む The Rise of Wolf Culture: Thoughts on Pleasant Goat and Big Big Wolf
By Silin Chen China was once proud of its top-notch animation industry. Animation classics produced by the Sha … 続きを読む In the Empty Name of Zhuangzi ——The Arbitrariness of Semiotics in Big Fish & Begonia
By Haiyan Lee The 2015 animated feature film Monster Hunt (Zhuoyao ji) is a popcorn caper served up by a mainl … 続きを読む Monsters to Die For: On Monster Hunt as an Ecological Fable