Animation Thinks charts a fragmentary history of Chinese animation from the 1920s to the present. Focusing on animation’s encounters with other art forms, including photography, painting, calligraphy, and porcelain, Panpan Yang examines contemporary Chinese animation trans-spatially, tracing how the meaning of Chinese animated works subtly shifts when moving between spaces such as the film industry and the contemporary art world. Ultimately, Yang argues that Chinese animation thinks time and space to a degree unimaginable in other media, offering an understanding of space that is neither completely graphic nor entirely photographic and an understanding of time as heterogeneous, disruptive, and surprising.
