New Generation in Chinese Animation

Shaopeng Chen examines new generation Chinese animation in its aesthetic and industrial contexts, arguing that it represents an important stage of diversity and exploration in the history of Chinese animation. He identifies distinct characteristics of new generation filmmaking, including an orientation towards young audiences and the recurring figure of the immortal monkey-like Sun Wukong, and explores how films responded to competition from American imports while retaining Chinese iconography and adopting Hollywood aesthetics and techniques. He also examines the adaptation of the Boonie Bears/Xiong Chumo TV series, the ambitious attempt to create the first Chinese-style high fantasy fictional universe by Vasoon Animation Studios, and the relationship between Japanese anime and new generation Chinese animation. Finally, he considers how word-of-mouth social media engagement lay behind the success of Monkey King: Hero is Back (2015).

Format: Hardback
Length: 304 pages
Publication date: 21 October 2021
Publisher: Bloomsbury Publishing PLC

In 1995, Chinese animated filmmaking underwent a significant transformation as it transitioned from a state-run enterprise to the free market. Chinese animated films have a rich history, dating back to the 1920s, and have played an important role in Chinese culture. However, with the advent of the free market, Chinese animated films faced new challenges and opportunities.

One of the key figures in the study of new generation Chinese animation is Shaopeng Chen. Chen's research focuses on the aesthetic and industrial contexts of Chinese animation, and he argues that this new generation of films represents an important stage of diversity and exploration in the history of Chinese animation.

One of the distinctive characteristics of new generation Chinese animation is its orientation towards young audiences. Chen identifies several films that have been successful in this regard, including Lotus Lantern/Baolian Deng (1999), which responded to competition from American imports such as The Lion King (1994) by retaining Chinese iconography while adopting Hollywood aesthetics and techniques.

Another characteristic of new generation Chinese animation is the recurring figure of the immortal monkey-like Sun Wukong. Chen explores how films such as Lotus Lantern/Baolian Deng (1999) and Boonie Bears/Xiong Chumo (2014-5) have responded to competition from American imports by retaining Chinese iconography while adopting Hollywood aesthetics and techniques.

Chen also examines the adaptation of the original TV series Boonie Bears/Xiong Chumo (2014-5) into a series of films. He explores how the films were promoted across generations and by means of both online and offline channels.

Chen also examines the ambitious attempt by Vasoon Animation Studios to create the first Chinese-style high fantasy fictional universe in the series Kuiba/Kui Ba (2011, 2013, 2014). He explores why the first film was a critical success but a failure at the box-office and considers the relationship between Japanese anime and new generation Chinese animation.

Finally, Chen considers how word-of-mouth social media engagement lay behind the success of Monkey King: Hero is Back (2015).

In conclusion, new generation Chinese animation represents an important stage of diversity and exploration in the history of Chinese animation. While it faces new challenges and opportunities, it has also retained its unique cultural identity and has been successful in reaching young audiences. Chen's research provides valuable insights into the aesthetic and industrial contexts of Chinese animation and will be of interest to scholars and fans of the genre.

Weight: 674g
Dimension: 161 x 241 x 22 (mm)
ISBN-13: 9781350118959