Animated Encounters pdf epub mobi txt 电子书 下载 2024


Animated Encounters

简体网页||繁体网页
Daisy Yan Du
University of Hawai'i Press
2019-2-28
328
GBP 96.95
Hardcover
9780824872106

图书标签: 动画  电影研究  电影  文化研究  渡言  海外中国研究  历史  香港   


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发表于2024-10-31

Animated Encounters epub 下载 mobi 下载 pdf 下载 txt 电子书 下载 2024

Animated Encounters epub 下载 mobi 下载 pdf 下载 txt 电子书 下载 2024

Animated Encounters pdf epub mobi txt 电子书 下载 2024



图书描述

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 captivating and enlightening history, Animated Encounters will attract scholars and students of world film and animation studies, children’s culture, and modern Chinese history.

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重写动画史的尝试,着眼于1940-70年代中国动画发展的“动态”面。前两章分别讨论“中对日”和“日对中”两个方向的交流影响;第三章从水墨动画内部出发重构inter/national;第四章抓住动物形象在浩劫前后消失与出现之间的变化,点出解读这一时期动画电影的新视角。个人读起来感觉渐入佳境,大概还是喜欢带有挑战或更新史观/理论视角的分析吧。

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本书挑战主流动画史单一的、垄断的民族风格论述,强调人、技术、风格等跨国/跨界流动,扎实有新意。导论,动画之边缘地位、流动特性带来的权力、灵活与艺术创造力,同时其技术、美学的流动及造成的动画接触地带,挑战了单一的民族风格论述 chapter1 旅行与性别理论棱镜下铁扇公主的民族身份的暧昧性与其对日本动画的深远影响 chapter 2 持永参与社会主义动画的早期实践,其日本身份、动画风格、左翼思想可反思动画民族性/跨国性实践,chapter 3 民族风格概念之流动与不稳定,破除民族风格的两个神话/谣言,挖掘被民族风格片压抑的国际风格片,水墨动画的评价取决于政治语境(《牧笛》的细读值得借鉴) chapter4 从动物的消失,转喻与再现重新审视文革,僭越民族内部的物种、阶级与种族的边界

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噴飯。

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草原英雄小姐妹的分析确实配得上封面。

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挑战民族风格的论述,并发掘中国动画的跨国运作潜流。动画电影的双重边缘化、集体合作、蕴含爱森斯坦所谓任意变化的「原生质性」、儿童无拘无束的戏仿,起到僭越的作用;《铁扇公主》刻画迥异于爱国女战士的形象,传递暧昧战时讯息,影响桃太郎系列的制作,激起手冢治虫的动画热情;持永只仁的满映经历和国际左翼背景,帮助成立上美厂,却在主流动画史中有意无意缺席,改中国姓名以进一步强化新中国动画业缘起的中国性;国际题材片和水墨动画共时存在,而在历时层面水墨风格的转变与民族形式话语、国际关系、政治环境的松紧、借鉴古代绘画(放牛图与禅宗系列)等息息相关;人形且会说话的动物在动画电影中消失,并以转喻的形式变为少数民族群体,而反派却逐渐兽化(名字如座山雕;活动范围转入森林或洞穴等等),运用特写技术反而曝露动画的非现实性。

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