Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area.

Como integrar as TIC em contexto didático das Artes explorando a distribuição EVTux na área do cinema de animação

Com a implementação do Plano Tecnológico da Educação e consequente apetrechamento das Escolas com recursos tecnológicos avançados, surge agora a necessidade de criar condições favoráveis para a efetiva integração das TIC no currículo, nomeadamente na área das Artes. Decorrente das características singulares desta área curricular, são muitas as ferramentas digitais que podemos utilizar em contexto educativo mobilizando-as para experiências de aprendizagem baseadas em projetos que integrem as tecnologias. Este é o caso do EVTux, uma distribuição livre de Linux que permite a criação efetiva de projetos de cinema de animação em contexto educativo com recurso às tecnologias, caso que agora se apresenta como exemplo neste artigo e que atualmente faz parte de uma síntese do trabalho que se integra no projeto europeu TACCLE2 no qual participamos.

Émergence du fumisme dans la production d'un nouvel esprit littéraire

La présente thèse se veut une relecture du fumisme en tant que concept et mouvement historique daté (années 1860-1880) et situé (la France), ou moment qui représente une économie de sens qui a bouleversé les habitudes perceptuelles et intellectuelles de la réception depuis la seconde moitié du dix-neuvième siècle. Selon la lecture habituelle du fumisme, les productions des poètes et artistes fumistes, qualifiées de « fumisteries », ne forment qu’un chapitre, ou une catégorie négligeable, de l’histoire littéraire. Cette histoire confond le fumisme en tant que mouvement littéraire éphémère avec les épisodes décadent et symboliste pour le réduire à un concours de mystifications de bourgeois par des bohèmes en marge par rapport à l’institution littéraire organisées par le comédien Sapeck et l’écrivain Alphonse Allais, tous deux nommés ironiquement chefs de « l’École fumiste » vers 1880. Or, en offusquant la conception positiviste du langage qu’elle lui applique afin de le réduire à une simple provocation sans but, et en assimilant Rimbaud aux « fumisteries » des « décadents », la critique littéraire nous donne l’outil principal de démystification du fumisme en tant que pratique ou mode de production d’une économie de sens. C’est cette économie qui constitue notre principal point d’intérêt. Contemporain des épisodes décadent et symboliste, le moment fumiste oblige la réception à reconfigurer la façon de produire du sens. Les productions fumistes (essentiellement des poèmes et des caricatures, comme dans l’Album zutique, notre corpus principal) sont fondées sur une économie du rébus. Exemplifiée par le sonnet de Rimbaud intitulé « Voyelles », cette économie, qui crée des « documents », des textes inséparables de leur matière, introduit l’économie artistique du vingtième siècle – en particulier, au mode de perception cinématographique tel que fabriqué par le fumiste Émile Cohl.

Doljer

Short open content animated film, this means that all the source files (except the music) are given away for use via a creative commons licence.

Vermillion Vortex

An animated film commissioned and screened by Art Review Magazine on their website (Oct-Dec 2010), and a double page comic strip (Art Review, Oct 2010. The project addresses a key problem with contemporary debates regarding ideas of ‘performativity’ and ‘fictioning’ (Foucault/Deleuze/Butler) whereby the structural requirement for an ‘End’ pre-determines or back-codes the ‘story’ or progression of events leading up to this ‘End’ and therefore cuts against the potentials claimed for ‘performance’ and ‘performativity’. Film credits Primary soundtrack: Music: Rose Kallal. Spoken word: Mark Beasley Voices: Katie Barrington, Marnie Watts, Maria Deegan & John Russell Sound engineer: Bob Geal PLUS Special bonus track: (after 'The End'): 'Strychnine Motive' (2011) by Gum Takes Tooth

Shrek: do conto aos filmes, em uma sucessão de paródias

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Industry evolution and cross-sectoral skill transfers:a comparative analysis of the video game industry in Japan, the United States, and the United Kingdom

In this paper we explore the interrelationship between technological progress and the formation of industry-specific skills by analysing the evolution of the video-game industry in three countries: Japan, the United States, and the United Kingdom. We argue that the cross-sectoral transfer of skills occurs differently depending on national contexts, such as the social legitimacy and strength of preexisting industries, the socioeconomic status of entrepreneurs or pioneer firms in an emerging industry, and the sociocultural cohesiveness between the preexisting and emerging industries. Each country draws on a different set of creative resources, which results in a unique trajectory. Whereas Japan's video-game industry emerged out of corporate sponsorships in arcades, toys, and consumer electronics industries and drew skills from the comic book and animated-film sectors, the video-game industry in the United States evolved from arcades and personal computers. In the United Kingdom the video-game industry developed bottom-up, through a process of skills formation in the youth culture of 'bedroom coders' that nurtured self-taught programmers in their teens throughout the country.

Hollywood Films in the Non-Western World: What Are the Criteria Followed by the Chinese Government When Choosing Hollywood Film Imports?

This dissertation argues that the Government of the People’s Republic of China, when it made the decision to import a quota of Hollywood films in 1994 to revive the failing domestic film industry, had different possible criteria in mind. This project has studied four of them: first, importing films that gave a negative image of the United States; second, importing films that featured Chinese talent or themes; third, importing films that were box office hits in the United States; and fourth, importing films with a strong technological innovation ingredient. In order to find out the most important criteria for the Chinese Government, this dissertation offers a dataset that analyzes a population of 262 Hollywood films released in the PRC between 1994 and 2010. For each unit, a method has been developed to compile data that will determine whether the film reflects any of the four criteria, and findings in the form of yearly percentages have been drawn. Results show that, out of the four studied criteria, the two predominant reasons for China to import films were technological innovation and box office hits. This tells us that, at this point, the Chinese Government shows more interest in obtaining big revenues and learning from technically innovative American films than in delivering underlying political messages. This dissertation contributes to the existing literature by analyzing the content of all the films imported by China between 1994 and 2010, while integrating in the analysis variables based on the existing knowledge.

Publicizing insecurity, privatizing security: Chinese wholesalers' surveillance cameras in a Paris suburb

Since the early nineties, several hundreds of Chinese immigrants have settled in what has become known as the 'Chinese wholesalers area'. For the past two years, Chinese wholesalers in Aubervilliers have been calling on public authorities to address the problem of street robberies and violent thefts, which they experience on a daily basis. Yet, they have been encouraged by the authorities to ensure their own protection, by - amongst other things - installing surveillance cameras to film the streets. This is illegal according to French legislation on camera surveillance. Knowing this, why have surveillance cameras been adopted as a solution? This question guides the ethnographic analysis presented here of a situation where the installation of surveillance cameras was locally negotiated by the main actors involved - namely, the wholesalers' representatives and the police.

« Autour de la musique narrative » ; « Les musiques de concert, de ballet et de film»

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU).

Borderless Fandom and Contemporary Popular Cultural Scene in Chinese Cyberspace

Thesis (Ph.D.)--University of Washington, 2016-06

Motivating film title translation: a cognitive análisis

This proposal is a non-quantitative study based on a corpus of real data which offers a principled account of the translation strategies employed in the translation of English film titles into Spanish in terms of cognitive modeling. More specifically, we draw on Ruiz de Mendoza and Galera’s (2014) work on what they term content (or low-level) cognitive operations, based on either ‘stands for’ or ‘identity’ relations, in order to investigate possible motivating factors for translations which abide by oblique procedures, i.e. for non-literal renderings of source titles. The present proposal is made in consonance with recent findings within the framework of Cognitive Linguistics (Samaniego 2007), which evidence that this linguistic approach can fruitfully address some relevant issues in Translation Studies, the most outstanding for our purposes being the exploration of the cognitive operations which account for the use of translation strategies (Rojo and Ibarretxe-Antuñano 2013: 10), mainly expansion and reduction operations, parameterization, echoing, mitigation and comparison by contrast. This fits in nicely with a descriptive approach to translation and particularly with skopos theory, whose main aim consists in achieving functionally adequate renderings of source texts.

Subtitling Chinese cinema: a case study of Zhang Yimou’s films

In recent years, more and more Chinese films have been exported abroad. This thesis intends to explore the subtitling of Chinese cinema into English, with Zhang Yimou’s films as a case study. Zhang Yimou is arguably the most critically and internationally acclaimed Chinese filmmaker, who has experimented with a variety of genres of films. I argue that in the subtitling of his films, there is an obvious adoption of the domestication translation strategy that reduces or even omits Chinese cultural references. I try to discover what cultural categories or perspectives of China are prone to the domestication of translation and have formulated five categories: humour, politeness, dialect, history and songs and the Peking Opera. My methodology is that I compare the source Chinese dialogue lines with the existing English subtitles by providing literal translations of the source lines, and I will also give my alternative translations that tend to retain the source cultural references better. I also speculate that the domestication strategy is frequently employed by subtitlers possibly because the subtitlers assume the source cultural references are difficult for target language subtitle readers to comprehend, even if they are translated into a target language. However, subtitle readers are very likely to understand more than what the dialogue lines and the target language subtitles express, because films are multimodal entities and verbal information is not the only source of information for subtitle readers. The image and the sound are also significant sources of information for subtitle readers who are constantly involved in a dynamic film-watching experience. They are also expected to grasp visual and acoustic information. The complete omission or domestication of source cultural references might also affect their interpretation of the non-verbal cues. I also contemplate that the translation, which frequently domesticates the source culture carried out by a translator who is also a native speaker of the source language, is ‘submissive translation’.