In 1995 Chinese animated filmmaking ceased to be a state-run enterprise
and was plunged into the free market. Using key animated films as his
case studies, Shaopeng Chen examines new generation Chinese animation in
its aesthetic and industrial contexts. He argues that, unlike its
predecessors, this new generation does not have a distinctive national
identity, but represents an important stage of diversity and exploration
in the history of Chinese animation.
Chen identifies distinct characteristics of new generation filmmaking,
including an orientation towards young audiences and the recurring
figure of the immortal monkey-like Sun Wukong. He explores how films
such as Lotus Lantern/Baolian Deng (1999) responded to competition
from American imports such as The Lion King (1994), retaining Chinese
iconography while at the same time adopting Hollywood aesthetics and
techniques.
Addressing the series Boonie Bears/Xiong Chumo (2014-5), Chen focuses
on the films' adaptation from the original TV series, and how the films
were promoted across generations and by means of both online and offline
channels. Discussing the series Kuiba/Kui Ba (2011, 2013, 2014), Chen
examines Vasoon Animation Studio's ambitious attempt to create the first
Chinese-style high fantasy fictional universe, and considers why the
first film was a critical success but a failure at the box-office. He
also explores 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).
