Abstract
Chinese animation has always emphasized practice over theory. Due to its lack of a corresponding theoretical system, Chinese animation’s creative and industrial practices have suffered great setbacks. The once famous “School of Chinese Animation” unexpectedly declined with the rise of the wider animation industry. At the same time, the emerging animation industry is now facing similar problems. Therefore, it is imperative to construct a theoretical system for the “Chinese School of New Animation”. To achieve this goal, the school should be studied from the perspective of social context, realistic demands, historical experience, and its main content. Its theoretical construction should emphasize three primary aspects: artistic ontology, industrial mechanisms, and cultural diffusion.
Funding source: China National Social Science Major Research Project “Reconstruction of the Chinese Animation School in the New Era and the Communication of Chinese National Culture”
Award Identifier / Grant number: 19ZDA333
About the author
Jian Pan, Ph.D. in Literature from Zhejiang University and postdoctoral fellow in Communication studies from Fudan University, is now a professor and doctoral supervisor at Zhejiang University, director of Film and Television, Animation and Game Research Center of Zhejiang University, and a visiting professor of Zhejiang Normal University. He is also the vice president of China Film Critics Association and director of the association’s Animation and Game Professional Committee, and chief expert of China National Philosophy and Social Science Major Research Projects. He has published more than 100 papers in national (including authoritative) journals such as Literary Review, Literature & Art Studies, Xinhua Digest (reprinted), and more than ten academic monographs, research reports and college textbooks. He has also won provincial and ministerial government awards for scientific research achievements, and academic paper awards of China Golden Rooster and Hundred Flowers Film Festival many times.
Acknowledgments
This article is supported by China National Social Science Major Research Project “Reconstruction of the Chinese Animation School in the New Era and the Communication of Chinese National Culture” (Grant number: 19ZDA333).
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