Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

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dc.contributor.advisor Rascaroli, Laura en
dc.contributor.author Chen, Yuanyuan
dc.date.accessioned 2016-02-16T11:53:53Z
dc.date.issued 2016
dc.date.submitted 2016
dc.identifier.citation Chen, Y. 2016. Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films. PhD Thesis, University College Cork. en
dc.identifier.uri http://hdl.handle.net/10468/2294
dc.description.abstract This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area. en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher University College Cork en
dc.rights © 2016, Yuanyuan Chen. en
dc.rights.uri http://creativecommons.org/licenses/by-nc-nd/3.0/ en
dc.subject Chinese animated film en
dc.subject Classicism en
dc.subject Modernism en
dc.subject Postmodernism en
dc.title Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films en
dc.type Doctoral thesis en
dc.type.qualificationlevel Doctoral en
dc.type.qualificationname PhD (Arts) en
dc.internal.availability Full text not available en
dc.check.info Indefinite en
dc.check.date 10000-01-01
dc.description.version Accepted Version
dc.description.status Not peer reviewed en
dc.internal.school Italian en
dc.check.type No Embargo Required
dc.check.reason No embargo required en
dc.check.opt-out Yes en
dc.thesis.opt-out true
dc.check.embargoformat Not applicable en
dc.internal.conferring Spring 2016 en


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© 2016, Yuanyuan Chen. Except where otherwise noted, this item's license is described as © 2016, Yuanyuan Chen.
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