Chinese Essence, Western Trick: Ink and Water Paintings in Animated Film
Abstract
This article attempts to reconstruct the ideological concepts and artistic methods postulated and practiced by makers of Chinese animated films inspired by traditional painting, which are the implementation of a top-down ideological challenge. The process of making films made in the ink and water technique is analysed. The author refers to four films that were made in Shanghai between 1960 and 1988 and occupy an important position in the established canon. The historical development of Chinese animation is considered in the context of ideas central to contemporary aesthetics and artistic practice: zhongti, xiyong (Chinese substance, Western means), minzu (national art) and meishu (fine art).
Keywords:
Chinese cinema, Chinese animation, Chinese artReferences
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Authors
Olga Bobrowskakwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Interesuje się chińskim i polskim filmem animowanym. Dyrektor słoweńsko-polskiego festiwalu animacji stop motion StopTrik IFF (Maribor - Słowenia, Łódź). Kuratorka pokazów m.in. w Polsce, Słowenii, Chorwacji, Holandii i Chinach. Współpracuje z festiwalami Animateka (Lublana), Etiuda & Anima (Kraków), Krakow Film Festival, a także z internetowym magazynem „Zippy Frames”. W 2016 r. ukazała się współredagowana przez nią monografia Obsession, Perversion, Rebellion. Twisted Dreams of Central European Animation. Kończy pracę nad doktoratem poświęconym klasycznemu chińskiemu filmowi animowanemu.
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