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Animated Encounters: Transnational Movements of Chinese Animation, 1940s–1970s By Daisy Y. Du. Honolulu: University of Hawaii Press, 2019. xiii + 259 pp. $90.00 (paper).

Published online by Cambridge University Press:  27 December 2019

Sean Macdonald
Sean Macdonald*
Affiliation:
State University of New York, Buffalo
*
*Corresponding author. Email: seanmacd@buffalo.edu
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Type
Book Review
Information
Journal of Chinese History 中國歷史學刊 , Volume 4 , Issue 1 , January 2020 , pp. 208 - 212
Copyright
Copyright © Cambridge University Press 2019

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References

1 Hu, Tze-Yue G., Frames of Anime: Culture and Image-Building (Hong Kong: Hong Kong University Press, 2015), 69–75 and 169–73Google Scholar.

2 People's Daily/Renmin ribao, “Weinisi guoji ertong dianying zhanlan jieshu, Wo Guo mu'ou pian ‘Shen Bi’ de yi deng jiang” (The Venice International Children's Film Exhibition ends, our nation's puppet animation “The Magic Brush” wins first prize), August 29, 1956, p. 5.

3 Macdonald, Sean, Animation in China: History, Aesthetics, Media (Oxford: Routledge, 2016), 101–2Google Scholar.

4 Weihua, Wu, Chinese Animation, Creative Industries, and Digital Culture (London: Routledge, 2018), 168–69Google Scholar.

5 Zeitlin, Judith, “Operatic Ghosts on Screen: The Case of A Test of Love (1958),” The Opera Quarterly 26/2–3 (2010), 220CrossRefGoogle Scholar.

6 Pallant, , Chris, , “Disney-Formalism: Rethinking ‘Classic Disney’,” Animation: An Interdisciplinary Journal 5/3 (2010), 348–50CrossRefGoogle Scholar.

7 Macdonald, Animation in China, 99.

8 Wu, Chinese Animation, 171.