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2016首届中国动画学年会嘉宾发言辑要(之五)

发表时间:2016-11-30 14:21:41    文章来源:    

 

会议地点:成都大学学术交流中心

会议时间:2016年11月19-20日

组织机构:

指导单位

中国动画学会                          

中国电影家协会动画电影工作委员会     

国际动画协会中国分会(ASIFA-CHINA  

亚太动画协会(中国区)              

中国动漫集团                       

    主办单位

成都大学

《当代电影》杂志社

    承办单位

四川动漫研究中心

成都大学美术与影视学院

成都大学动画学院

 

学术主持:段运冬

论坛嘉宾:吴炜华

题目:The Ambivalent Image Factory: Catachresis, Cultural Metaphor, State Discourse and Industrialized Creativity in Theorizing Chinese Animation

 

This paper draws a socio-cultural map about the relation between the animation making and the ideologically defined creative industry in China, by examining the formation and transformation of the nationalized visual language and its expanded cultural practices. By looking critically at the way the animated visuals represent themselves in various multimedia platforms and its ambivalent location struggling within both the state discourse and the calling for industrialization of animation filmmaking.

This paper also looks at the historical catachresis and cultural metaphor in producing and theorizing Chinese animation in relation to the socialist, artistic discourses of the ethnic/national style. By investigating some of these issues raised by the Chinese School, the author explores the conceptualization and constitution of Chinese animation film as a powerful metaphor for producing nationalist cultural identity. This paper identifies the pursue of Chinese contemporary cultural as visual practice for Chinese animators in search of cultural modernity, and meanwhile examines how the rapid change of Chinese society and cultural industry unlock contemporary discourses addressing the animator allegory of socialist China, the political-economical structures of the naming behind “Meishu Film” and Animation differently, as well as the rise of the independent practice to represent the individual resistance against the institutionalized filmmaking and media products.

 

 

吴炜华先生个人简介:

香港城市大学博士、美国纽约大学博士后。麻省理工学院富布赖特研究学者,现任中国传媒大学新闻传播学部教授。教育部新世纪优秀人才,全国广播电视“百优理论人才”。主要研究领域有健康传播及行动倡导、青年及媒介文化、新媒体与游戏研究等,研究论文“The camera as an exception,” “Lost in Virtual Carnival and Masquerade: In-game Marriage on the Chinese Internet”“In Memory of Meishu Film: Catachresis and Metaphor in Theorizing Chinese Animation”“ Cultural Performance and Ethnography of Ku in China”,发表于《游戏与文化》《动画跨学科研究学刊》《定位:东亚文化批判》等国际学术期刊。

 

 

学术主持:段运冬

论坛嘉宾:张曼慈

题目:The Independent Nature of Chinese Independent Animation: Case Studies of Hong Kong

      当代中国独立动画艺术的独立性:以香港的独立动画创作为例

Independent, often socially, culturally, and/or politically alternative cultural production is a worldwide phenomenon today. Despite the cultural policies and industrial configuration of Hong Kong do not significantly encourage the growth of independent animation, there has been growth in this sector nonetheless, spurred especially by a combination of formal and informal educational initiatives, local and regional festival activities and competitions, the newly emerged digital image-making tools, and online distribution platforms.

Conventionally, independent animators understand that in exchange for the usually project-based paycheck offered by the commercial industry, they enjoy a comparatively higher level of creative freedom and autonomy. This is partly due to the usually self-financed source of funding, but mostly because they are often free from the different kinds of team-based managerial constraints that face commercial animators. Some independent animation artists seek to challenge the system by using strategies such as "cultural differentiation" and by creating formal and/or content-based alternatives to those of the mainstream animation industry in order to stake a claim for the legitimacy of their own aesthetic systems and social meanings. So, independent practitioners have the opportunity to express their "independent spirit" or vision, as they seek to have a creative space for individual expression of personal ideas or beliefs, their different social and professional identities, different aesthetic outlooks, and sometimes even the alternative voice of the marginalized groups. The existence of independent cultural production (such as films and animation) is manifested in the ways in which some artists who are not comfortable working within the mainstream entertainment industry attempt to reinvent the wheel by seeking other means to produce and platforms to disseminate their own images.

In this paper, case studies of some Hong Kong animation work will be critically examined, which help to explain the politics of independent animation in Hong Kong and the kinds of strategies these independent animation practitioners incorporate in order to create and maintain a sufficient creative space. Through mainly ethnographic research and in-depth interviews, the findings of this research show that independently made animations are aesthetically and expressively heterogeneous, and that the survival strategies adopted by animators varies, ranging from taking up the role of a freelancer, actively running a studio or company, accepting artist-in-residency opportunities, and doing more personal work on the side while employed either within the commercial field or in the educational sector at the secondary and tertiary levels. And all of these operators are on a continuous search for additional funding sources. Looking for the possibility of independent creation between the gaps in systems of formal and informal regulation, these animation practitioners seek new strategies to work around and through the mainstream media in order to express relatively unfamiliar themes, ideas and audiovisual tropes.

 

张曼慈女士个人简介:

Terrie Man-chi Cheung

School of Creative Media, City University of Hong Kong

PhD Candidate

香港城市大学创意媒体学院博士候选人