Muyang Zhuang | Tongji University (original) (raw)

Papers by Muyang Zhuang

Animation: an interdisciplinary journal , 2023

From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous sci... more From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous science education films. Many utilized animated effects, such as illustrations, maps, and cartoons, to promote the reception of scientific knowledge and ideological messages by audiences. Current scholarship on Chinese animation history stresses films made by the Shanghai Animation Film Studio, neglecting animation created by filmmakers in science education film studios. In this article, I argue that the history of useful animation in science education films provides a different approach to understanding Chinese animation as the animation of experiment. Animation functioned as scenes of experiment that enabled science education films to deliver message of knowledge; they also inspired amateur experiment with animated filmmaking and experimental animation practices in the post-socialist era. This article analyzes animation for science education films, amateur animation practices, and experimental works inspired by or benefited from science education filmmaking. It will enrich the scholarship on Chinese animation and shed new light on the history of Chinese animation and film culture in the PRC.

Cultural and Social History , 2023

This article examines cartoons reflecting rural North China created by Chinese collaborationist a... more This article examines cartoons reflecting rural North China created by Chinese collaborationist artists during the Second Sino-Japanese War. I argue that these cartoons showcased a transition in the discourse of rural modernisation. I examine the image of Japanese-occupied rural North China from the perspectives of cultural history and visual culture studies. Analysing cartoons by northern Chinese collaborationist cartoonists, I delineate the transformation of the image of rural North China before and after 1937 and present the process in which rural North China was reconceptualised, reshaped, and visualised by pro-Japanese propaganda after 1937.

艺术评论 (Art Criticism), 2023

丰子恺在抗日战争全面爆发后以传统文人山水画的方式创作了相当数量的风景漫画。当前学界并未对这些以自然山水为主题的风景漫画进行深入分析,而澳大利亚学者白杰明认为这类作品是丰子恺向买家趣味妥协的产物。... more 丰子恺在抗日战争全面爆发后以传统文人山水画的方式创作了相当数量的风景漫画。当前学界并未对这些以自然山水为主题的风景漫画进行深入分析,而澳大利亚学者白杰明认为这类作品是丰子恺向买家趣味妥协的产物。然而，这批风景漫画称得上是丰子恺后期绘画的一大主导类型，从全面抗战爆发开始一直到中华人民共和国成立后，他都坚持创作此类作品。本文分析了丰子恺战时风景漫画中反复出现的山水母题，认为这些山水风景事实上是作为情感媒介在发挥作用。在继承其“感想与写生”的漫画美学理念之余，丰子恺在其战时风景漫画中寄托的是自己反战与乡愁的情感。

Twentieth-Century China, Jan 2023

During the War of Resistance against Japan (1937–1945), cartoons constituted an important type of... more During the War of Resistance against Japan (1937–1945), cartoons constituted an important type of cultural production in Japanese-occupied China. Most scholarship focuses on the political stances shown in such cartoons. However, this article explores Chinese cartoons that seldom directly addressed political issues in wartime North China. In 1935, Zhang Guangyu created the first Folk Love Songs cartoon, which has been seen as representative of Sinicized cartoons, emphasizing the national characteristics shown in Chinese folk culture. With changes in formal and ideological matters, Folk Love Songs cartoons continued to appear in Japanese-occupied North China, featuring quotidian topics. This article argues that, by visualizing everyday life, Folk Love Songs cartoons displaced and de/politicized (depoliticized and simultaneously repoliticized) the national characteristics embedded in prewar Sinicized cartoons. The motif showcases the complexity of wartime cultural production that was not totally occupied by political propaganda.

當代動畫 (Contemporary animation), 2022

電影評介 (Movie review), 2020

Animationstudies 2.0, 2022

北京电影学院学报 Journal of Beijing Film Academy, 2021

Association for Chinese Animation Studies (ACAS)

In December 2020, an exhibition was held by the Guardian Art Center in Beijing to celebrate the 1... more In December 2020, an exhibition was held by the Guardian Art Center in Beijing to celebrate the 120th birthday of Zhang Guangyu (1900–1965), one of the most important Chinese cartoonists. According to the curator, Zhang Guangyu was the pioneer of not only Chinese cartoons, but also graphic design and animation. The curator divided Zhang Guangyu’s achievements into twelve sections, and of these, his participation in animated filmmaking attracted numerous visitors because it featured as creening of Uproar in Heaven (Danao Tiangong1961, 1964).Zhang designed several characters for a representative work of Chinese National Style animation. In addition to Uproar in Heaven, the exhibition hosted a short clip, on loop, of the animated cartoonBell Boy (Qiaozhong Nanhai, 1947),made by Zhang Guangyu and his contemporary cartoonists Te Wei (1915–2010) and Liao Bingxiong (1915–2006) in Hong Kong.

艺术评论 Art Criticism, 2020

本文试图全面地展示 1929 年第一次全国美术展览会所推动的艺术批评场域，以《美展》会刊为依托，重审当时中国艺术批评新旧两派的观点。徐志摩和徐悲鸿在《美展》会刊上以“惑”为题进行了著名的“二... more 本文试图全面地展示 1929 年第一次全国美术展览会所推动的艺术批评场域，以《美展》会刊为依托，重审当时中国艺术批评新旧两派的观点。徐志摩和徐悲鸿在《美展》会刊上以“惑”为题进行了著名的“二徐论战”，本文别于前人研究，旨在将论战置于艺术批评场域之中，考察在相对更广的语境下，“二徐论战”所呈现出的现代性知识生产。在《美展》发表艺术批评或评论文章的人士众多，立场也各有不同。本文将进一步讨论《美展》中的传统理论资源，对全国美展中呈现出的“新”“旧” 观念进行比对。文章将论述在中国艺术界、知识界的转型时期，“惑”与“不惑”论战所呈现出的艺术现代性知识生产，传统资源在全国美展上的参与，以及由此引发的多元化批评场域之中的新旧争鸣，在此基础之上更加全面地展示在“二徐论战”所处时代中，中国艺术批评及理念争鸣的多元面貌。

文化研究季刊 Cultural Studies Quarterly, 2019

摘要藝術家程新皓的作品《陌生地形》呈現了中越邊境地帶這一被他稱為「具有間性的場域」,並借助影像呈現了一個待識別的族群「莽人」。在藝術家看來,莽族人的生活形態是流動的,一定意義上符合詹姆斯·... more 摘要
藝術家程新皓的作品《陌生地形》呈現了中越邊境地帶這一被他稱為「具有間性的場域」,並借助影像呈現了一個待識別的族群「莽人」。在藝術家看來,莽族人的生活形態是流動的,一定意義上符合詹姆斯·斯科特(James C. Scott)對東南亞贊米亞(Zomia)地區高地族群的描述。莽人居住在斯科特意義上的「碎裂帶」,有意識地去消弭本族文字可能帶來的外部危機,以一種無文字、非國家的管道維繫著族群的自我認同。但由於中國的扶貧和少數民族政策,莽族人最終被識別並納入到布朗族中。本文試圖借助安德森(Benedict Anderson)在《複製品、光暈和晚近的民族主義想像》(Replica,Aura,and Late Nationalist Imaginings)一文對複製和民族主義想像的討論,以及斯科特《逃避統治的藝術》(The Art of Not Being Governed)對流動性族群的分析,指出程新皓《陌生地形》作為一種藝術手段介入莽人這一待識別族群的生活狀態,並以他者的鏡頭,在作為外部視域的藝術展覽中,對莽人無文字、非國家的族群認同進行呈現和複製,並在事實上將其塑造為族群的自我規訓。在受到強勢文明和國家機器的介入之前,藝術影像的呈現和複製能為莽人及類似的族群記錄暫時性的反規訓敘事,但在強勢文明的主導下,莽人的反規訓敘事也會內化為自我規訓的一種。這種內化的自我規訓,會呈現為某種的文化檔案,「莽人」群體的自我規訓將變成強勢文明的參照物,以審美的、趣味的甚至獵奇的面貌被記錄在名之為藝術的資料庫之中。

Abstract
The work Strange Terrains by artist Cheng Xinhao presents what he calls "an intersexual field" along the Sino-Vietnamese border, and presents an ethnic group, “Mang”, to be identified by means of images. From the artist's point of view, the life style of the Mang people is mobile, which in a certain sense conforms to James Scott's description of highland ethnic groups in Southeast Asia's Zomia region. The Mangs live in Scott's "fragmentation zone", consciously eliminating the external crisis brought about by their own writing and maintaining the self-identity of the ethnic group through a non-written and non-state path. However, due to China's poverty alleviation and minority policy, the Mangs were finally identified and included into the Bulang people. This paper attempts to draw on the discussion of replication and nationalist imagination in Replica, Halo and Late Nationalist Imaginings by Benedict Anderson, as well as Scott's The Art of Not Being Ruled analysis of mobile ethnic groups, which points out that Cheng Xinhao's Strange Terrains is an artistic method to intervene in the life state of this ethnic group to be identified, and uses the lens of the other to present and copy the ethnic identity of the Mangs without words and non- state in the art exhibition as an external perspective, and in fact shapes it into the self- discipline of the ethnic group. The presentation and reproduction of artistic images can record temporary anti-discipline narration for the Mangs and similar ethnic groups before being intervened by a stronger civilization and its state machine. However, under the guidance of a more powerful civilization, the anti-discipline narration of the Mangs will be internalized into a kind of self-discipline. This internalized self-discipline will be presented as cultural archives, and the self- discipline of the Mangs group will become a reference for the stronger civilization, which could be recorded in a database called Art, with aesthetic, interesting and even curious features.