{"id":5473,"date":"2025-04-06T13:36:52","date_gmt":"2025-04-06T05:36:52","guid":{"rendered":"https:\/\/acas.world\/?p=5473"},"modified":"2025-04-06T13:58:11","modified_gmt":"2025-04-06T05:58:11","slug":"techno-nationalism-and-the-rise-of-chinese-animation-nezha-2-and-the-evolution-of-cgi-blockbusters-in-china-by-daisy-yan-du-china-center-university-of-minnesota-mar-26-2025","status":"publish","type":"post","link":"https:\/\/acas.world\/zh\/2025\/04\/06\/techno-nationalism-and-the-rise-of-chinese-animation-nezha-2-and-the-evolution-of-cgi-blockbusters-in-china-by-daisy-yan-du-china-center-university-of-minnesota-mar-26-2025\/","title":{"rendered":"Techno-Nationalism and the Rise of Chinese Animation: <em>Nezha 2<\/em> and the Evolution of CGI Blockbusters in China, by Daisy Yan Du, China Center, University of Minnesota, Mar 26, 2025"},"content":{"rendered":"<p>Daisy Yan Du, an associate professor at Hong Kong University of Science and Technology, discusses how <em>Nezha 2<\/em> not only signifies the rise of Chinese animation on the global stage but also underscores the growing influence of Chinese CGI technology in the realms of computer graphics and the creative industries worldwide.<\/p>\n<p><iframe loading=\"lazy\" title=\"Techno-Nationalism &amp; the Rise of Chinese Animation: Nezha 2 &amp; the Evolution of CGI Blockbusters\" width=\"604\" height=\"453\" src=\"https:\/\/www.youtube.com\/embed\/XacthBOVdhE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n\r\n\t\t<style>\r\n\t\t\t.huge-it-share-buttons {\r\n\t\t\t\tborder:0px solid #0FB5D6;\r\n\t\t\t\tborder-radius:5px;\r\n\t\t\t\tbackground:#3BD8FF;\r\n\t\t\t text-align:left; \t\t\t\t\t\t\t\t\t}\r\n\r\n\t\t\t#huge-it-share-buttons-top {margin-bottom:0px;}\r\n\t\t\t#huge-it-share-buttons-bottom 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class=\"none nobackground \" >\r\n\r\n\t\t\t\t\t\t\t\t\t\t\t\t<a id=\"backforunical5473\" href=\"http:\/\/n4g.com\/tips?url=acas.world\/zh\/wp-json\/wp\/v2\/posts\/5473&title=Techno-Nationalism and the Rise of Chinese Animation: <em>Nezha 2<\/em> and the Evolution of CGI Blockbusters in China, by Daisy Yan Du, China Center, University of Minnesota, Mar 26, 2025\"  onclick=\"javascript:void window.open('http:\/\/n4g.com\/tips?url=acas.world\/zh\/wp-json\/wp\/v2\/posts\/5473&title=Techno-Nationalism and the Rise of Chinese Animation: <em>Nezha 2<\/em> and the Evolution of CGI Blockbusters in China, by Daisy Yan Du, China Center, University of Minnesota, Mar 26, 2025','1410949501326','width=700,height=500,toolbar=0,menubar=0,location=0,status=1,scrollbars=1,resizable=1,left=0,top=0');return false;\" style=\"background-position: -510px -120px \"><\/a>\r\n\t\t\t\t\t<\/li>\r\n\t\t\t\t\t\t\t\t<\/ul>\r\n\t\t\t<div class=\"clear\"><\/div>\r\n\t\t<\/div>\r\n\t\t\n","protected":false},"excerpt":{"rendered":"<p>Daisy Yan Du, an associate professor at Hong Kong University of Science and Technology, discusses how Nezha 2 not only signifies the rise of Chinese animation on the global stage but also underscores the growing influence of Chinese CGI technology in the realms of computer graphics and the creative industries worldwide. Share This:<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_wpcom_ai_launchpad_first_post":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"{title}\n\n{excerpt}\n\n{url}","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false,"jetpack_post_was_ever_published":false},"categories":[5],"tags":[],"class_list":["post-5473","post","type-post","status-publish","format-standard","hentry","category-bulletin"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"zh","enabled_languages":["en","zh","cn","ja","kr"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"zh":{"title":false,"content":false,"excerpt":false},"cn":{"title":false,"content":false,"excerpt":false},"ja":{"title":false,"content":false,"excerpt":false},"kr":{"title":false,"content":false,"excerpt":false}}},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/posts\/5473","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/comments?post=5473"}],"version-history":[{"count":3,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/posts\/5473\/revisions"}],"predecessor-version":[{"id":5478,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/posts\/5473\/revisions\/5478"}],"wp:attachment":[{"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/media?parent=5473"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/categories?post=5473"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/acas.world\/zh\/wp-json\/wp\/v2\/tags?post=5473"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}