ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book presents the transformation of Chinese animation and map out the relations and mutuality between visual modernity and the cultural subjectivities in Chinese society that is historically divided into two parts: the new era and the post–new era. It argues that the lingering aesthetic and cultural identity, embedded in the visual narrative of the authoritarian-structured School and the alternative, effectively re-establishes Chinese animation as a mediated approach to the unequal dialogue between the traditional body of modern filmmaking and cultural practice. The book discusses meishu film, a historical catachresis in the mechanical reproductive era, and ends with shanke and online animation practices, a new media neologism, in order to represent the "long march" in which all Chinese animators fluctuate between hopes and struggles.
