Vincenzo De Masi | United International College (original) (raw)

Drafts by Vincenzo De Masi

This study examines the evolution and economic impact of the Japanese video game industry from it... more This study examines the evolution and economic impact of the Japanese video game industry from its arcade origins to its current position in the digital entertainment landscape. Through comprehensive market analysis, the research investigates how Japan established and maintained its global gaming industry leadership through unique organizational structures, particularly the keiretsu system. The study analyzes historical development patterns, market data from 2007-2012, and emerging trends across different gaming sectors including traditional consoles, portable gaming devices, social gaming, and arcade entertainment. Special attention is given to the industry's adaptation to changing consumer preferences, particularly the shift from traditional gaming platforms to social and mobile gaming. The research also provides comparative analysis with other Asian markets, notably China and South Korea, highlighting Japan's distinctive market characteristics and future challenges. Findings indicate that while Japan's traditional gaming market shows signs of contraction, particularly in software sales, new growth opportunities emerge in social gaming and mobile platforms, supported by Japan's distinctive cultural integration strategies and technological innovation.

Chinese animation has undergone a remarkable transformation from its origins in traditional story... more Chinese animation has undergone a remarkable transformation from its origins in traditional storytelling and shadow puppetry to its current status as a global powerhouse. This evolution, shaped by historical influences, government policies, and technological advancements, reflects China's rich cultural heritage and its growing influence in the global entertainment industry.
The modern Chinese animation industry emerged in the early 20th century, with pioneers like the Wan brothers laying the foundation. Their 1926 film Uproar in the Studio marked the beginning of Chinese animated filmmaking, setting the stage for decades of innovation and creativity. The industry entered its golden era in the 1950s-1980s, characterized by the establishment of state-owned studios and the creation of iconic works that gained international recognition.
In recent years, China's film industry has risen to become the second largest globally, with animation playing a significant role in this growth. According to Sun & Wang (2023), the Chinese box office reached an impressive RMB 47.8 billion ($7.3 billion) in 2023, with 686 films produced. The animation sector demonstrated remarkable development, with the number of registered animated films increasing significantly to 137, up from 53 in 2022.
The industry's focus has shifted from quantity to quality, reflecting a strategic change towards producing higher-quality content. While China once produced approximately 300,000 minutes of animation annually in the early 2010s, recent statistics show an output of 150,000 minutes of television animation content in 2023. This shift has been accompanied by a surge in online animation, with 508 online animations registered in 2023, distributed by major platforms such as Bilibili, iQiyi, Tencent Video, and Youku.

Abstract According to the latest Digital report of 2018 (Kemp 2018), the total number of Internet... more Abstract
According to the latest Digital report of 2018 (Kemp 2018), the total number of Internet users has reached 4.021 billion. The majority (3,196 billion) are active on social networks.
Social media are playing a very important role in every field: from the economic to the social.
A particular role of change is occurring in Asia, where the dynamics of use are very different from those in the Western world. For example, applications such as WhatsApp are not widely used in China, South Korea or Japan. In fact, Japanese users prefer the app Line (developed in Japan). Similar to that, in South Korea people use KakaoTalk, and in China, only WeChat is used – because, other apps, mostly the social networks used in the West, are not accessible.
This study will analyze the situation of social media in general, giving an overview of the state of art in the world, and then focus on the situation in China, where compared to the rest of the world, social media are having a very different evolution. Some examples are WeChat (a messaging app with social network features) or dating apps like Tinder, which although banned in China, have several clones, such as Tantan, Momo, Soul or Jimu.
This research is manly founded on the studies carried out by Costa (2016) and aims to cover the lack, in the academic world, about the social media situation in Asia and above all to focus on the particular Chinese contest, in order to have an idea about the actual situation and how it has been changing over the years.

In the field of social media the instant messaging is a very important. Applications such as What... more In the field of social media the instant messaging is a very important. Applications such as WhatsApp, Facebook messenger and Line have had a great technological evolution, turning them into powerful social media.
What many scholars ignore is the fact that in East Asia instant messaging has developed in a way different from those used in the Western world. For example, Line is the main instant messaging in Japan and KakaoTalk in Korea.
A particular case occurs in China where there is only one instant messaging called WeChat that has the monopoly because most of the social media in China such as WhatsApp, Facebook messenger, Line and KakaoTalk are banned by the government.
WeChat was born as a copy of the most famous WhatsApp, then it has evolved in a very different way from the original: this App has tried to fill a gap that was in the social media in China by introducing, for example, a function called moments, where users can publish photos, short videos and their friends can comment them.
Afterwards WeChat introduced Mini-programs which are additional functions that allow the users to order food, buy tickets for cinema and trains, rent bikes and much more. All this is supported by a payment model called WeChatpay that can be used to pay in every big shop in China.
All the other social media are interested in the WeChat model as a method of payment, hence they have started to try this new method but their attempt failed because of the lack of shops willing to do that.
On the contrary WeChatpay together with Alipay have spread all over the world and it is normal to see at the airports or in tourist areas Chinese tourists paying with these methods of payment.
The main aim of this study is to analyze the social media, such as Line, KakaoTalk and WeChat in order to outline their evolution focusing on WeChat as case study.
Furthermore, in the introduction there will be an accurate and updated analysis of the most important social media in China.

In the sector of creative industry, apps are having a great success all over the world but in Chi... more In the sector of creative industry, apps are having a great success all over the world but in China the situation is very different (De Masi 2016). Chinese studios design their own apps entirely in China and they are very simple to be used by everybody.
The sector of apps in China has upset the lives of the new generation and all the other people try to fit in this new world (Rau 2013).
Today in China it is possible to do everything simply using the smartphone. For instance it is possible to pay anywhere using some social media apps such as Wechat; to order something to eat thanks to Elema and Baidu Waimai apps; to rent a bicycle using OFO or Mobike; even to find partners through Dating apps such as Tantan (Chinese version of Tinder) and Momo (Chen 2015).
All these apps are necessary and useful today in order to live in a better way in big urban centres and all that has changed the habits of the new generation.
In a preliminary stage of this paper there will be an analysis of these new Chinese apps and their consequences on contemporary society in China. It is necessary starting with the history of these apps and then focusing on the most popular apps in China and their use by the new generation (Rovai 2016).
In a second stage there will be the focus on the state of apps in China in correlation with the world of creative industry by indicating their use and penetration data in the young people’s relationships and their creative contest.
Furthermore, interviews will be conducted to see how new Chinese generations interact with them in order to have a trusted sample of people who, through their experience, can tell us how these apps work, their strengths and weaknesses.

During the last years the Chinese government has considered the creative industries very importan... more During the last years the Chinese government has considered the creative industries very important for their cultural and economic value. For this reason the animation field has benefited from preferential developmental policies leading China to become, in few years, the first world producer of animation as far as produced minutes, that is about 220.000 minutes per year.
To achieve these results, since 2004 the Chinese government has worked hard in supporting the animation field in its all levels: from the education sector, with the opening of new schools and the creation of specialized courses at the universities to the industrial one, with tax cuts and funds allocated to the industries dedicated to animation.

Books by Vincenzo De Masi

Peter Lang GmbH, 2014

Animation has always been considered a minor art and it has been neglected by the media experts –... more Animation has always been considered a minor art and it has been neglected by the media experts – although it has a very ancient history and is so successful on the world market. From 2006 to the present, the Chinese Government has considered animation a key sector for the birth of a new national identity and for cultural development in China. In 2004 China used to produce less than 30 titles with about 20,000 minutes of animation products for TV and cinema. Thanks to the Chinese Government’s support, in few years China has become the world’s leading producer of animation. All the animation products from the production to the distribution are under control of the State Administration of Radio Film and Television agency (SARFT). Animation is consi- dered not only a business but also a new method of communication. The Chinese Government supports businesses but ask that the animation products made in their studios have to provide for an educational feature in order to teach and educate the next generation of young people in the context of soft power. In this paper, we try to outline the actual situation of animation in China, focusing on the new methods of production and distribution of animation in the country. We conduct the analysis from a comparative point of view, in order to better study and analyse the traditional way of creating animation and the new methods. The second part of the paper deals with the artists and the new methods of distribution used in China in the last 10 years. The aim of this paper is to give an overall view of the state of animation in China and above all to under- stand this new way of communication, such as animation, which can influence the new Chinese generation as well as foreigners.

NHTV, BREDA, 2014

The animation industry today is considered one of the most interesting industries, both economica... more The animation industry today is considered one of the most interesting industries, both economically and culturally. From the creative point of view this sector is one of the most innovative because it can span different languages, taking inspiration from literature, film, TV, music, and other artistic features (Newman, 2012), and then merge them into a new artistic expression (Aldrich 2007, Bittanti 2008).
The Chinese government in line with the policy of soft power has recognised in the animation industry a strategic sector in the context of the creative industries; that's why since 2006 the Chinese central government has financed and supported this sector, urging local governments, regions, provinces and cities to finance and help through tax breaks, direct loans, interest subsidies, etc. (Keane 2007, Montgomery 2010).
In fact in the last few years China has become the first world producer of animated products with upwards of 220,000 minutes produced in 2011. To reach this goal, the Chinese central government has offered financial support with tax relief in order to help the birth of new industrial areas in China, changing and regenerating districts and areas of small and big cities.

https://documents.nhtv.nl/load.aspx?doc=%5cmiscellaneous%5cMetis+documenten%5cMarques_Richards_Creative_Districts_complete_book.pdf

Peter Lang, 2016

Abstract In recent years, creative industries in China have had an important role both eco- nomic... more Abstract In recent years, creative industries in China have had an important role both eco- nomically and socially, and the sectors of animation and video games have had the chance to develop significantly. Animation, as a form of storytelling, can have a strong educational power (Van Riper, 2011): this is the basis of the new industrial strategy adopted by China in the creative sector, as far as the animation field is concerned (Tan, 2006). Over a few years, the animation industry was able to achieve a great development with the creation of prod- ucts mainly for broadcast on TV. Animation now represents around 220,000 minutes per year. For this reason, China became the number one producer of animation in the world in 2010. But to achieve this, the Chinese government had to encourage and try to structure the entire animation industry (Lu Bin, 2013). In the early 2000s, the animation industry in China increased the production of animation contents, thanks to the introduction of computers in industrial production, bringing about an increase in minutes and quality (Tan, 2006). This new technological condition was somehow facilitated by the government that pushed the major animation production studios to adapt to new technological standards and keep pace with other countries competing in this area (Qing, 2006). The digital turn in storytell- ing seems to have increased the capacity of the government to promote traditional values, rather than improving the chances of the independent authors and private studios to create new stories. The development of technology and the entry of computers in many Chinese homes also generated a change in the spread of animation products, as many users, especially students, began to watch online products made abroad. Moreover, it has created a new gen- eration of authors, who, although few, have begun to create new stories and have a clear idea of how to use new technologies – even criticising, in some animations, the social situation of modern China. At that moment, there was still a predominance of foreign productions, mainly Japanese and American: almost the totality of the merchandise was in the hands of foreign companies (Lu Bin, 2014).The digital turn in storytelling has made propaganda pro- ductive: not a cost for the government but actually a profitable business to reach in few years. This article will relate the historical and technological development, government policies in favour of this industry and it will analyse the reasons of the theatrical feature animation films success, highlighting the most representative works produced over the past 15 years.

Asian Social Sciences and Business Research, 2020

The world of apps is liking great success in the creative industries (De Masi 2016), especially t... more The world of apps is liking great success in the creative industries (De Masi 2016), especially the American apps have influenced the whole social media world.
But in China the situation is completely different for two main reasons: firstly because some of the most popular Western apps are not accessible in China; secondly, because the app industry made in China is successful. Furthermore Chinese apps are indispensable for Chinese people who, for example, make purchases using Wechat and Alipay as it is almost impossible to pay cash.
These features have quickly changed the way of life both of the young generation and adults as well (Rau 2013).
Through these apps everybody can access any service using simply a smartphone: for example it is possible to order a take a way in any restaurant using Elema and Baidu Waimai apps; ride a bike using an app such as Mobike or OFO; find your partner through Dating apps such as Tantan (Tinder) and Momo (Chen 2015).
This study is manly based on the researches carried out by Wang (2016) and Costa (2016) and is made up of two parts: the first part describes the panorama of social media in China; the second part focuses on both the use of social media by some categories of the Chinese population (Rovai 2016) and how their relationships and some aspects of their life in general are influenced by these new means of communication.

The Chinese animation has always been considered a minor art and it has been neglected by the med... more The Chinese animation has always been considered a minor art and it has been neglected by the media experts though it has got a very ancient history and it is so successful on the world market. From 2006 to present the Chinese government has considered the animation a key sector for the birth of a new national identity and for the cultural development in China. To reach this goal the Chinese government has promoted and supported the birth of about 6000 animation studios, 1300 universities which provide animation studies and so in China there are more than 500 animation departments. Zhao Shi, deputy director of the State Administration of Radio, Film and (SARFT) said “About 64,000 students majoring in animation have graduated from universities and 466,000 were studying in colleges”

Global Communication, Local Perspectives

Business Strategies and Approaches for Effective Engineering Management, 2013

According to a survey by Goo Research (April 2011), the average Japanese person appears to have r... more According to a survey by Goo Research (April 2011), the average Japanese person appears to have relied primarily on television news for gathering information in times of disaster, and as unlike a lot of overseas media, the public broadcaster NHK’s news broadcasts were defined as very calm and measured. This chapter focuses on the NHK coverage of the earthquake and nuclear crisis in March 2011 compared with private channels’ and specific websites’ coverage with regard to specific events. The aim is to enlighten the ways and the tools through which Japanese Public Television played a double role: on one side it became a primary source of information for hard news and played a “service” role for the population in need; on the other side and with special regard to the coverage of the nuclear crisis, the duty to inform was balanced by the duty to reassure the public and promote harmony so that NHK privileged government and corporate statements about the Fukushima situation. The authors corroborate their study through an analysis of NHK’s programming and private channels’ changing schedules and advertising during the recent disaster. This chapter provides a concrete example of the potential television role in disaster mitigation, taking into account both the positive and critical aspects.
Introduction
The object of this study is the use of Japanese Public Television to manage and mitigate the earthquake consequences and the Fukushima situation. A preliminary analysis of the tools and strategies used by NHK to describe the earthquake and the tsunami occurred on March 11th and to inform people about their consequences, will demonstrate that the Japanese Pubcaster entered a “natural disaster mode” during the first week from the natural disaster. A follow up analysis of the official statements and documents released by NHK Media Department during the first week from the earthquake will help enlighten the main characteristics and functions of the so-called “natural disaster mode” and will demonstrate how this kind of coverage is innate to the NHK.

A sample analysis of the programming and contents of the week from March 11th to March 19th will demonstrate how in the NHK coverage of the disaster the duty to inform was balanced by the duty to reassure and promote harmony. With special regard to this last point we will perform a comparative analysis of specific events connected to the Fukushima incident as reported both by NHK and independent journalists on the Net.

This study aim at documenting a type of TV coverage we have defined as the “NHK natural disaster mode,” in the belief that this model could represent a good practice to follow when covering a natural disaster and its immediate consequences. Despite its good features, though, this model has also shown some critical aspects when confronted with controversial situations, such as the Fukushima incident. As Japan’s nuclear energy crisis continues to unfold at the Fukushima Daiichi power station, the news media have struggled to sort through confusing, and often conflicting, information about damage to the crippled plant and its threat to public safety.

Conference Presentations by Vincenzo De Masi

Conference "Teenage Kicks: Global Teenage Cultures, Representations and Practices, Kingston Unive... more Conference "Teenage Kicks: Global Teenage Cultures, Representations and Practices, Kingston University, London, 9th-10th September 2017.

Articles by Vincenzo De Masi

’Università di Milano, Dipartimento di Beni culturali e ambientali, 2024

This study examines the critical importance of audio design in crafting immersive experiences wit... more This study examines the critical importance of audio design in crafting immersive experiences within the metaverse. The analysis focuses on key technologies driving this field, with particular emphasis on spatial audio techniques such as Head-Related Transfer Functions (HRTF) and Ambisonics, which enable precise three-dimensional sound positioning. The research investigates adaptive audio rendering, highlighting tools such as Microsoft’s Spatial Audio Unity Plugin, which facilitates dynamic soundscape adjustments based on user interactions. Furthermore, the application of artificial intelligence in audio design is explored, with a discussion on the potential of Generative Adversarial Networks (GANs) for synthetic sound production and personalized audio experiences. The study presents two significant case studies: the partnership between TCG World, STYNGR, and Downtown for interactive sonic environments, and research on Audio Augmented Reality (AAR) in art galleries. Ethical considerations, including privacy, accessibility, and the psychological impact of immersive audio, are critically examined. The research concludes by exploring future directions, such as cross- modal integration and emotional AI systems in metaverse audio design, emphasizing the necessity for responsible development practices. Through this comprehensive analysis, the study aims to provide insights into the challenges and opportunities presented by audio design in virtual environments, contributing to the evolving landscape of metaverse technology.

Forum Editrice Universitaria Udinese, 2011

A crucial premise to this work is that we do not consider animation as a cinematographic “genre” ... more A crucial premise to this work is that we do not consider animation as a cinematographic “genre” or as a film technique. We can observe that many genres and many techniques exist within animation, which consequently must be recognized as cinema on its own, the twin brother of “live-action” cinema (Bendazzi, 1999). If we think about animation as a full language we can also see that it uses different canons when it speaks with its audience. These canons follow different rules or conventions (palette, animation style, subject matter, soundtrack, characterization, etc.) which are supposed to make them recognizable. In this work we will attempt to clear whether it is possible to distinguish between western and eastern traditional canons in the field of animation and to disentangle the different thematic and esthetic elements. To draw a line here, we will carry out a comparative analysis of the American and the Japanese tradition. However, we would like to point out that what we do not want to foster the classic contraposition between American and Japanese animation, which is, in our opinion, a false problem. We remain, in fact, convinced that the real contraposition, with regard to Japanese and American traditions, is not between anime and cartoons but between TV animation and cinema animation.
We also would like to point out that the attempt to make Japanese and American animated canons explicit is not purely academic, but is functional to underline how elements drawn from two different traditions have been collected and re-organized in new and original canons which are recognizable in the Chinese animated audiovisual products. Taking some successful domestic animation series as examples, we focus on the narrative and stylistic differences of Chinese animation models with respect to the more developed Japanese and American ones. As mentioned previously, although in the imaginary culture the Japanese and American animation production and narration models appear to be in opposition to each other, it is possible to distinguish a number of common points not only between these two traditional animation models but also an increasing hybridization of narrative and aesthetic patterns which characterise the Chinese animation as well. In our analysis we call attention on a number of Chinese animation series that are successful domestically and internationally. On one side, the large success these series meet with the audience cannot be explained only by the large supports the Chinese government is providing to this sector, but it relies mainly on the market demand, which includes the use of narration and production characteristics, which are typically considered Chinese

KOME − An International Journal of Pure Communication Inquiry, 2013 1 (2): 44-54, 2013

In recent years animation has been considered of one of the pillars of the creative industry by t... more In recent years animation has been considered of one of the pillars of
the creative industry by the Chinese government. For this reason both the central and local government has been investing and supporting this sector, effectively becoming the first manufacturer. In parallel with the industrial production there is another kind of production, totally independent, that tries to find its audience on the Internet, creating many interesting animations absolutely different from the traditional ones. This study will attempt to explain one of these famous animations using the case study approach and it will focus on one of the most representative products of these years, that is Miss Puff. The Director of this animation is Pi San who is considered, in China, both the master of animation created with Flash and a revolutionary, because of his innovative ideas.This article is based on an interview to the Director Pi San. The interview was conducted in the study Hutoon of Beijing in July 2012

https://komejournal.com/files/4misspuffabstract.pdf

Peter Lang GmbH, 2014

NHTV, BREDA, 2014

https://documents.nhtv.nl/load.aspx?doc=%5cmiscellaneous%5cMetis+documenten%5cMarques_Richards_Creative_Districts_complete_book.pdf

Peter Lang, 2016

Asian Social Sciences and Business Research, 2020

Global Communication, Local Perspectives

Business Strategies and Approaches for Effective Engineering Management, 2013

’Università di Milano, Dipartimento di Beni culturali e ambientali, 2024

Forum Editrice Universitaria Udinese, 2011

KOME − An International Journal of Pure Communication Inquiry, 2013 1 (2): 44-54, 2013

https://komejournal.com/files/4misspuffabstract.pdf

IEEE, 2024

The metaverse, a concept of an immersive and interconnected virtual world, is rapidly gaining tra... more The metaverse, a concept of an immersive and interconnected virtual world, is rapidly gaining traction as the next frontier in digital interaction. This article explores the critical role of artificial intelligence (AI) in shaping the future of the metaverse by addressing key challenges such as interoperability and synchronization. Drawing on recent data and case studies, including Roblox's success and the rise of AIpowered platforms like Crucible and Improbable, the article examines how AI can enable seamless experiences across virtual worlds and optimize network infrastructure for real-time, shared experiences. The article also discusses the ethical and social implications of AI in the metaverse and emphasizes the need for collaborative efforts to ensure responsible innovation. As the boundaries between the physical and virtual worlds blur, the AI-enabled metaverse has the potential to revolutionize various aspects of human life, from education and entertainment to scientific exploration and problem-solving.

iafor, 2024

AI Amok (2020), directed by Yu Irie, offers an incisive exploration of artificial intelligence’s ... more AI Amok (2020), directed by Yu Irie, offers an incisive exploration of artificial intelligence’s role in a near-future Japanese society and is set in the year 2030. Employing the analytical framework provided by Bordwell and Thompson’s Film Art: An Introduction, this research explores the film’s narrative construction, visual storytelling techniques, and its thematic depth, particularly focusing on the portrayal and implications of artificial intelligence. Distinct from the often distant futures depicted in science fiction cinema, AI Amok presents a vision of the future that mirrors current technological trajectories, especially in healthcare and urban development. This stands in contrast to films like Blade Runner 2049 (2017) and Her (2013), which envision more abstract futures. AI Amok thus distinguishes itself through a narrative that integrates AI into societal fabrics, confronting the ethical quandaries this integration elicits. The analysis reveals a scenario that feels immediate and tangible, offering a credible sight into the technological advancements and challenges of the near future. Moreover, the study highlights AI Amok’s nuanced depiction of AI’s roles within healthcare and government, suggesting a reflection on and projection of these technologies’ evolving paths. Unlike the overt technologization seen in The Matrix (1999) or Ex Machina (2014), AI Amok opts for more subtle visual effects to convey AI’s ubiquity, providing a unique perspective on AI’s potential to shape societal dynamics. This approach enriches the discourse on science fiction cinema, contributing a distinctive viewpoint to the ongoing debates concerning the ethical development and integration of artificial intelligence in real-world contexts.

https://iafor.org/archives/journals/iafor-journal-of-cultural-studies/10.22492.ijcs.9.si.pdf

LAB Research, 2024

The rapid advancements in artificial intelligence (AI) are catalyzing a profound transformation i... more The rapid advancements in artificial intelligence (AI) are catalyzing a profound transformation in the realms of cinema, animation, and content creation. This article delves into the groundbreaking project Our T2 Remake (2024), a collaborative reinterpretation of Terminator 2: Judgment Day (1991) by 50 artists and filmmakers using generative AI. It also explores the potential future impact of tools like OpenAI's Sora and Shengshu Technology's VIDU (Feng, 2024), a Beijing-based start-up tool that generates lifelike videos from simple text prompts, and other AI video generators, which promise to revolutionize the world of cinema and video content even further (Jalil, 2023; Chase, 2024). By examining the implications of these projects, the article explores AI's impact on creative expression, character development, cost efficiency, and innovation. It also addresses the challenges and opportunities presented by AI integration, including ethical considerations surrounding bias, representation, and the potential displacement of traditional roles. Ultimately, the article envisions a future where AI and human creativity converge, redefining the boundaries of storytelling and artistic expression while emphasizing the importance of fostering an inclusive and ethical approach to this technological revolution.

This article explores the phenomenon of Japanese animation (anime) in the 1970s and 1980s, focusi... more This article explores the phenomenon of Japanese animation (anime) in the 1970s and 1980s, focusing on the strategic adaptation of Western literature, particularly European classics, for animated series. Known as Meisaku, this genre played an important role in establishing anime's global appeal and market penetration, especially in Europe. The study examines the historical context, development strategies, stylistic approaches, and impact of Meisaku on the European market. Through a case study of Heidi, Girl of the Alps and an analysis of the genre's broader implications, the paper clarifies how this cross-cultural adaptation process facilitated anime's international success and influenced the global animation landscape.

Keywords: Anime, Meisaku, Western literature adaptation, Cross-cultural animation, European market

The world of apps is liking great success in the creative industries, especially the American app... more The world of apps is liking great success in the creative industries, especially the American apps have influenced the whole social media world. But in China the situation is completely different for two main reasons: firstly because some of the most popular Western apps are not accessible in China; secondly, because the app industry made in China is successful. Furthermore Chinese apps are indispensable for Chinese people who, for example, make purchases using Wechat and Alipay as it is almost impossible to pay cash. These features have quickly changed the way of life both of the young generation and adults as well. Through these apps everybody can access any service using simply a smartphone: for example it is possible to order a take a way in any restaurant using Ele.me and Baidu Waimai apps; ride a bike using an app such as Mobike or OFO; find your partner through Dating apps such as Tantan and Momo. This study is manly based on the researches carried out by Xinyuan (2016) and E...

Concepts, Methodologies, Tools, and Applications, 2014

In China during the last 10 years the creative industry (or cultural industry) has been having an... more In China during the last 10 years the creative industry (or cultural industry) has been having an incredible change due to the emergence of apps that have shocked the Chinese creative landscape (De Masi 2016).
In China social media have evolved in a different way from the rest of the world because of a simple reason: the great western social networks (Facebook, WhatsApp, Twitter, Instagram, Tinder and others) are not allowed in China.
This is one of the reasons why the Chinese creative industry has generated its own apps. Some Chinese companies have grown up very quickly such as the famous BAT (BaiDu, Alibaba and Tencent). At the beginning these companies were only copies similar to the western ones (Ellis 2017), but afterwards they had their own evolution overcoming, in some cases, the original ones thanks to their simplicity and functionality.
WeChat is an example of an app born as instant messaging (the Chinese version of WhatsApp) that now incorporates several features that have made this app something different: it is possible to transfer money, pay in most stores (almost the totality), rent bikes, order food, hotels, taxis and more.
Even the apps that use short videos, such as Douyin, Xiaokaxiu, Meipai, Miaopai and Kuaishou, are having a great success.
Currently Douyin is the most important social media in China; it has over one billion videos seen every day in. Besides in a year it has had over 100 million users (Graziani).
This study will focus in particular on the new apps that use video, in order to understand their functionality and the context where they were born; the importance in social media and their economic aspect.

Keywords: Social media, Creative Industries, Apps, China, short video

The purpose of this paper is to describe the phenomenon of Japanese animation (anime) and more in... more The purpose of this paper is to describe the phenomenon of Japanese animation (anime) and more in detail the history of Japanese animation and its influence in the European market. In particular the focus of this research is on the production of the animation of the series called Meisaku (Fontana 2007, Cavallaro 2011), that is those anime series inspired by the novels of world literature for children, most of them of European origin (Germany, Italy, Switzerland, France etc.).

“CREATED IN CHINA”:THE NEW AGE OF CHINESE ANIMATION PRODUCTION. From 2006 to present the Chine... more “CREATED IN CHINA”:THE NEW AGE OF CHINESE ANIMATION PRODUCTION.

From 2006 to present the Chinese government has considered the animation a key sector for the birth of a new national identity and for the cultural development in China. To reach this goal the Chinese government has promoted and supported the birth of about 6000 animation studios, 1300 universities which provide animation studies and so in China there are more than 500 animation departments. Zhao Shi, deputy director of the State Administration of Radio, Film and said “About 64,000 students majoring in animation have graduated from universities and 466,000 were studying in colleges”.
In this paper we will try to outline the actual situation of the animation in China focusing on the new methods of production and distribution of the animation in the country. We will carry out the analysis from a comparative point of view, in order to better study and analyze the traditional way of creating animation and the new methods.
The aim of this paper is to give an overall view of the state of the animation in China and above all to understand this new way of communication, such as the animation, that which can inﬂuence the new Chinese generation as well as foreigners .

In 2011 China has become the first world producer of animation with about 220,000 minutes prod... more In 2011 China has become the first world producer of animation with about 220,000 minutes produced by the Chinese studios of animation breaking the record held by Japan.
But few people know that the 90% of the production of the American animation is produced in Asia and in the Chinese studios.[1]
To reach this record the Chinese government has promoted and sponsored the animation cinema and it has created new schools and universities. 2006 was an important year because the State Administration of Radio, Film and Television (SARFT) started this new kind of project, and so there was the birth of about 6000 animation studios, about 500 animation departments and over 1,300 universities offering professional training for cartoonists. “About 64,000 students majoring in animation have graduated from universities and 466,000 were studying in colleges“ said Zhao Shi, deputy director of SARFT.
It’s quite interesting the way the government is trying to find a national identity through the animation.
In this period China is experimenting new forms of animation drawing inspiration for the anime from its neighbor Japan and for the narration and the techniques of production from Europe and the USA.
In this historical period, Taiwan has always tried to draw inspiration in its animation production from the Chinese traditional art so it was able to create original animated products which, at the same time, use traditional techniques such as the palm puppetry and mixing them with the new animation technologies offered by the computer graphic. The Taiwan puppet show originates from Southern Fujian Province in Mainland China. The modern puppetry has been developed from the traditional palm manipulated form and tailored to fit the studio shooting for TV and cinema. One of the most successful products is the series with over 1,600 episodes called Pili, produced by Pili International Multimedia Inc. The Pili show even extends its influence to the international video arena with first Pili movie ‘The Legend of Sacred Stone’ in 2000.
In a preliminary stage of this paper we will explore the history of the Chinese schools of animation specialized in the puppet animation. In order to underline the peculiar characteristics of movie production we will conduct our analysis from a comparative point of view, taking into consideration the historical point of view. In fact during the Cultural Revolution, the Chinese government has promoted the production of the puppet animation, such as ‘Little Eighth Route Army Soldier’ (Xiao Balu), produced by the Shanghai Puppet Theatre. We will highlight not only the differences but also the touching points between the old school of puppet animation and the new one.
In a second stage we will examine the state of the schools of puppet animation in China and in the Taiwan, dwelling above all on the international success reached by the puppet animation Pili which are considered the best example of mixture between the traditional puppet animation and computer animation in the framework of an original animation production.
We will also try to understand how the puppet animation schools have created this new kind of hybridization. Our choice to focus on the Chinese animation model will draw from some preliminary observations.
This so ancient art was even considered died or it was present only in any shows of little importance, but thanks to the animation schools of puppet animation of the Republic of China, today we can witness a new rebirth of this special kind of art.

[1] Asian Animation: Artistic And Commercial Perspectives edited by John A. Lent, Vol. 14, No.1, Spring/summer 2003, Asian Cinema Studies Society.

LABresearch, 2024

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