Weihua Wu - Chinese Animation, Creative Industries, and Digital Culture

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Chinese Animation, Creative Industries, and Digital Culture

This book explores the development of the Chinese animation film industry from the beginning of Chinas reform process up to the present. It discusses above all the relationship between the communist states policies to stimulate creative industries, concepts of creativity and aesthetics, and the creation and maintenance, through changing circumstances, of a national style by Chinese animators. The book also examines the relationship between Chinese animation, changing technologies including the rise first of television and then of digital media, and youth culture, demonstrating the importance of Chinese animation in Chinese youth culture in the digital age.

Weihua Wu is a Professor of Media Studies in the Faculty of Journalism and Communication at the Communication University of China.

Routledge Culture, Society, Business in East Asia Series

To view more titles in the series, follow this link: www.routledge.com/Routledge-Culture-Society-Business-in-East-Asia-Series/book-series/CSBEA

Editorial Board

Heung Wah Wong (Executive Editor), The University of Hong Kong, Hong Kong, China

Chris Hutton, The University of Hong Kong, Hong Kong, China

Wayne Cristaudo, The University of Hong Kong, Hong Kong, China

Harumi Befu (Emeritus Professor), Stanford University, USA

Shao-dang Yan, Peking University, China

Andrew Stewart MacNaughton, Reitaku University, Japan

William Kelly, Independent Researcher

Keiji Maegawa, Tsukuba University, Japan

Kiyomitsu Yui, Kobe University, Japan

How and what are we to examine if we wish to understand the commonalities across East Asia without falling into the powerful fictions or homogeneities that dress its many constituencies? By the same measure, can East Asian homogeneities make sense in any way outside the biases of East-West personation?

For anthropologists familiar with the societies of East Asia, there is a rich diversity of work that can potentially be applied to address these questions within a comparative tradition grounded in the region as opposed the singularizing outward encounter. This requires us to broaden our scope of investigation to include all aspects of intra-regional life, trade, ideology, culture, and governance, while at the same time dedicating ourselves to a complete and holistic understanding of the exchange of identities that describe each community under investigation. An original and wide-ranging analysis will be the result, one that draws on the methods and theory of anthropology as it deepens our understanding of the interconnections, dependencies, and discordances within and among East Asia.

The book series includes three broad strands within and between which to critically examine the various insides and outsides of the region. The first is about the globalization of Japanese popular culture in East Asia, especially in greater China. The second strand presents comparative studies of major social institutions in Japan and China, such as family, community and other major concepts in Japanese and Chinese societies. The final strand puts forward cross-cultural studies of business in East Asia.

4 Rethinking Social Capital and Entrepreneurship in Greater China

Is guanxi still important?

Edited by Jenn-Hwan Wang and Ray-May Hsung

5 Gender, Dating and Violence in Urban China

Xiying Wang

6 Chinese Animation, Creative Industries, and Digital Culture

Weihua Wu

First published 2018

by Routledge

2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge

711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

2018 Weihua Wu

The right of Weihua Wu to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Every effort has been made to contact copyright-holders. Please advise the publisher of any errors or omissions, and these will be corrected in subsequent editions.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

Names: Wu, Weihua, 1973 author.

Title: Chinese animation, creative industries digital culture / Weihua Wu.

Description: New York : Routledge, 2017. | Series: Routledge culture, society,

business in East Asia series; 6 | Includes bibliographical references and index.

Identifiers: LCCN 2017011146 | ISBN 9780415810357 (hardback) |

ISBN 9781315108780 (ebook)

Subjects: LCSH: Animated film industryChina. | Motion picture industry

and stateChina. | Animated filmsChina. | YouthChinaAttitudes.

Classification: LCC NC1766.C6 W8 2017 | DDC 791.43/340951dc23

LC record available at https://lccn.loc.gov/2017011146

ISBN: 978-0-415-81035-7 (hbk)

ISBN: 978-1-315-10878-0 (ebk)

Typeset in Times New Roman

by Apex CoVantage, LLC

Contents

1. i
2. ii

Guide

I am immensely grateful for the support and encouragement of both Communication University of China and City University of Hong Kong through the long duration of this book project. My special thanks go to the amazing advisors Prof. Gao Xiaohong and Dr. Steve Fore. I was lucky to have both of them for their professional mentorship, career guidance, and spiritual adventure in my early thirties.

The International Center for Advanced Studies at New York University provided me with instruction and funding when I started this book project at the nicest studio in Washington Square Village in 2007. I extend my gratitude to Thomas Bender and Timothy Mitchell for their encouragement and inspiration, which led me to the academic journey I am thrilled to explore in the future.

I am particularly grateful for the opportunity to engage with the Fulbright Fellowship program, supported by the Institute of International Education of the United States and the China Scholarship Council. I especially wish to acknowledge the Comparative Media Studies and Writing program and the Media Lab at MIT for the open-minded immersion experience I had in 2014. Thanks to Jing Wang for the inspiration of interdisciplinary criticism through the dialogue at MIT.

This book was made possible also with sponsorship from the Asian Studies Association of Hong Kong. I worked through all of the contents of this book at many conferences and meetings with fellows of ASAHK. I thank the participants, respondents, and commenters for helping me improve the ideas in this book, and particularly, I want to express my gratitude to Dixon Wang and Fiona for their persistent and enthusiastic support of this book.

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