The Discourse of Independent Animation in the Contemporary Chinese Context

Bibliographic Data

ID21787405
AuthorsTerrie Man-Chi Cheung (0000-0002-1216-1261, City University of Hong Kong, corresponding author)
Year2021
Volume16
Issue3
Pages175-189
Publication date2021-11-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueAnimation (JOURNAL)
Journal identifiersISSN: 1746-8477 • E-ISSN: 1746-8485
PublisherSAGE Publications (PUBLISHER • US)
DOI10.1177/17468477211050974
OpenAlexW3215196932
LanguageEN
Citations received2
References cited6

Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework

Aesthetics · Animation · Art · China · Contemporary art · Epistemology · Linguistics · Phenomenon · Sociology · Visual arts · Cinema and Media Studies · Computer Science · Digital Media and Visual Art · History · Media, Gender, and Advertising · Philosophy

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