Daisy Yan Du – författare

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.This is the first book in any language to examine the animated works of the Manchukuo Film Association, known as Manying in Chinese, a studio established by Japanese authorities during the occupation of Manchuria. Long thought lost to the war, Manying’s films were rediscovered in 1989—yet, in contrast to the studio’s newsreels, documentaries, and live-action feature films, its animated works have largely gone ignored. In this book, Daisy Yan Du draws on research in multiple languages and rarely accessed archives to reveal that Manying made animation central to its mission, even harboring ambitions of building an animation empire across China and beyond. This unrealized dream did not simply vanish with the end of the war, however: its specter lingered, playing a previously untold role in the development of the Chinese, Japanese, and Korean animation industries. Filling a critical gap in our understanding of the development of East Asian and world animation, this groundbreaking work tells the story of the surprising lives, deaths, and afterlives of Manying animation.

A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.This is the first book in any language to examine the animated works of the Manchukuo Film Association, known as Manying in Chinese, a studio established by Japanese authorities during the occupation of Manchuria. Long thought lost to the war, Manying’s films were rediscovered in 1989—yet, in contrast to the studio’s newsreels, documentaries, and live-action feature films, its animated works have largely gone ignored. In this book, Daisy Yan Du draws on research in multiple languages and rarely accessed archives to reveal that Manying made animation central to its mission, even harboring ambitions of building an animation empire across China and beyond. This unrealized dream did not simply vanish with the end of the war, however: its specter lingered, playing a previously untold role in the development of the Chinese, Japanese, and Korean animation industries. Filling a critical gap in our understanding of the development of East Asian and world animation, this groundbreaking work tells the story of the surprising lives, deaths, and afterlives of Manying animation.

Chinese Animation: Multiplicities in Motion is the first edited volume that explores the multiple histories, geographies, industries, technologies, media, and transmedialities of Chinese animation, from early animated special effects to socialist classics, from computer-generated-imagery (CGI) blockbusters to edgy independent films, and from stop-motion to virtual reality. Its fifteen chapters, grouped under the five themes of junctures, gender, identities, digitality, and practices, span a century of animation since the 1920s across mainland China, Hong Kong, Taiwan, Singapore, and the diasporic world. Derived from the 2021 Inaugural Conference of the Association for Chinese Animation Studies (ACAS), this volume as a whole defines Chinese animation studies as a new field of research emerging from the peripheries of modern Chinese literature and film studies on the one hand, and from the margins of Western and Japanese animation studies on the other. Incorporating diverse academic approaches and perspectives, this groundbreaking book is an indispensable guide for a rapidly growing community of scholars, students, animators, fans, and general readers interested in Chinese and world animation.

China's role in the history of world animation has been trivialized or largely forgotten. In Animated Encounters Daisy Yan Du addresses this omission in her study of Chinese animation and its engagement with international forces during its formative period, the 1940s-1970s. She introduces readers to transnational movements in early Chinese animation, tracing the involvement of Japanese, Soviet, American, Taiwanese, and China's ethnic minorities, at socio-historical or representational levels, in animated filmmaking in China. Du argues that Chinese animation was international almost from its inception and that such border-crossing exchanges helped make it ""Chinese"" and subsequently transform the history of world animation. She highlights animated encounters and entanglements to provide an alternative to current studies of the subject characterized by a preoccupation with essentialist ideas of ""Chineseness"" and further questions the long-held belief that the forty-year-period in question was a time of cultural isolationism for China due to constant wars and revolutions.China's socialist era, known for the pervasiveness of its political propaganda and suppression of the arts, unexpectedly witnessed a golden age of animation. Socialist collectivism, reinforced by totalitarian politics and centralized state control, allowed Chinese animation to prosper and flourish artistically. In addition, the double marginality of animation—a minor art form for children—coupled with its disarming qualities and intrinsic malleability and mobility, granted animators and producers the double power to play with politics and transgress ideological and geographical borders while surviving censorship, both at home and abroad.A fascinating and enlightening history, Animated Encounters will attract scholars and students of world film and animation studies, children's culture, and modern Chinese history.