Chinese Animation

A History and Filmography, 1922-2012

Nonfiction, Entertainment, Performing Arts, Film
Cover of the book Chinese Animation by Rolf Giesen, McFarland & Company, Inc., Publishers
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Author: Rolf Giesen ISBN: 9781476615523
Publisher: McFarland & Company, Inc., Publishers Publication: December 19, 2014
Imprint: Language: English
Author: Rolf Giesen
ISBN: 9781476615523
Publisher: McFarland & Company, Inc., Publishers
Publication: December 19, 2014
Imprint:
Language: English

With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry’s infancy, its Golden Age (Shanghai Animation Film Studio) and today’s Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry’s infancy, its Golden Age (Shanghai Animation Film Studio) and today’s Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).

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