Skip to content
1981
Volume 8 Number 1
  • ISSN: 2042-7875
  • E-ISSN: 2042-7883

Abstract

This article discusses the experimental animation works of Choi Sai-Ho, Carla Chan, Tobias Gremmler and Chris Cheung Hon-Him to probe animated abstraction as a discursive space through which meaning can be negotiated. These Hong Kong artists explore alternative, open-ended and fluid ways of meaning-making that are emerging in response to more traditional modes of moving image storytelling. In developing a vocabulary for artists and scholars to work with, what role can the works of Hong Kong artists play in shaping this, and what perspectives can these works offer for such an endeavour? A range of preoccupations with references ranging from spiritual symbolism and abstracted landscape to Chinese opera and Hong Kong architecture bring to light some of those other visions and possible modes of animated abstraction engaged with producing meaning.

Funding
This study was supported by the:
  • Research Grants Council of Hong Kong (Award 21609017)
  • A Strategic Research Grant from City University of Hong Kong (Award 7004759)
Loading

Article metrics loading...

/content/journals/10.1386/ap3_00008_1
2020-12-01
2025-04-28
Loading full text...

Full text loading...

References

  1. Belson, Jordan. ( 1953), Mandala, USA:: Jordan Belson;.
    [Google Scholar]
  2. Belson, Jordan. ( 1959), Séance, USA:: Jordan Belson;.
    [Google Scholar]
  3. Belson, Jordan. ( 1961), Allures, USA:: Jordan Belson;.
    [Google Scholar]
  4. Belson, Jordan. ( 1967), Samahdi, USA:: Jordan Belson;.
    [Google Scholar]
  5. Bratton, Benjamin H.. ( 2015), The Stack: On Software and Sovereignty, Cambridge, MA and London:: MIT Press;.
    [Google Scholar]
  6. Chan, Carla. ( 2015a), Snö, Hong Kong:: Carla Chan;.
    [Google Scholar]
  7. Chan, Carla. ( 2015b), Unseen Land, Hong Kong:: Carla Chan;.
    [Google Scholar]
  8. Chan, Carla. ( 2015c), Black Moves, Hong Kong:: Carla Chan;.
    [Google Scholar]
  9. Chan, Carla. ( 2018), in-person interview with the author, Hong Kong , 8 April.
  10. Cheung, Chris Hon-Him. ( 2015–19), Resonance Aura, Hong Kong:: Chris Hon-Him Cheung;.
    [Google Scholar]
  11. Cheung, Chris Hon-Him. ( 2018), Skype interview with the author, Hong Kong , 24 May.
  12. Choi, Sai-Ho. ( 2007), Star, Hong Kong:: Sai-Ho Choi;.
    [Google Scholar]
  13. Choi, Sai-Ho. ( 2009), Violin Cityscape, Hong Kong:: Sai-Ho Choi;.
    [Google Scholar]
  14. Choi, Sai-Ho. ( 2011, 2014), Move, Hong Kong:: Sai-Ho Choi;.
    [Google Scholar]
  15. Choi, Sai-Ho. ( 2018), Skype interview with the author, Hong Kong , 10 June.
  16. Deleuze, Gilles. ( 1983), Cinema 1: The Movement-Image (trans. H. Tomlinson, and R. Galeta.), London:: The Athlone Press;.
    [Google Scholar]
  17. Deleuze, Gilles. ( 1989), Cinema 2: The Time-Image (trans. H. Tomlinson, and R. Galeta.), London:: The Athlone Press;.
    [Google Scholar]
  18. Elsaesser, Thomas. ( 2012;), ‘ Stop/motion. ’, in E. Røssaak. (ed.), Between Stillness and Movement: Film, Photography, Algorithms, Amsterdam:: Amsterdam University Press;, pp. 10922.
    [Google Scholar]
  19. Furniss, Maureen. ( 1994;), ‘ Things of the spirit: A study of abstract animation. ’, Ph.D. thesis, Los Angeles:: University of Southern California;.
    [Google Scholar]
  20. Gfader, Verina. ( 2017), Vital Lines: Animation and Concepts of Vitality, unpublished research proposal .
    [Google Scholar]
  21. Gremmler, Tobias. ( 2016a), Virtual Actors in Chinese Opera, Hong Kong:: Tobias Gremmler;.
    [Google Scholar]
  22. Gremmler, Tobias. ( 2016b), Kung Fu Motion Visualization, Hong Kong:: Tobias Gremmler;.
    [Google Scholar]
  23. Gremmler, Tobias. ( 2018), Skype interview with the author, Hong Kong , 7 June.
  24. Hays, David L.. ( 2018;), ‘ Knowing and not knowing, moving and not moving, in Alain Resnais’s L’Année dernière à Marienbad (1961). ’, Polysèmes, 19, 10.4000/polysemes.3438. Accessed 9 March 2021.
    [Google Scholar]
  25. Lévi-Strauss, Claude. ( 1962), The Savage Mind, London:: Weidenfeld & Nicolson;.
    [Google Scholar]
  26. Resnais, Alain. ( 1961), L'Année dernière à Marienbad, France and Italy:: Argos Films and Cineriz;.
    [Google Scholar]
  27. Rodowick, David. ( 2001), Reading the Figural, or, Philosophy after the New Media, Durham, NC: and London:: Duke University Press;.
    [Google Scholar]
  28. Torre, Dan. ( 2015;), ‘ The metamorphosis of place: Projection-mapped animation. ’, in C. Pallant. (ed.), Animated Landscapes: History, Form and Function, New York: and London:: Bloomsbury Publishing;, pp. 199214.
    [Google Scholar]
  29. Turner, Pamela. ( 2003;), ‘ Content and meaning in abstract animation. ’, 30th SIGGRAPH, San Diego, CA, USA, https://scholarscompass.vcu.edu/kine_pubs/2/. Accessed 9 March 2021.
    [Google Scholar]
  30. Wells, Paul. ( 1998), Understanding Animation, London and New York:: Routledge;.
    [Google Scholar]
  31. Wells, Paul. ( 2015;), ‘ Plasmatic pitches, temporal tracks and conceptual courts: The landscapes of animated sport. ’, in C. Pallant. (ed.), Animated Landscapes: History, Form and Function, New York and London:: Bloomsbury Publishing;, pp. 21532.
    [Google Scholar]
  32. Whitney, James. ( 1957), Yantra, USA:: Uroboros Films;.
    [Google Scholar]
  33. Whitney, James. ( 1963–66), Lapis, USA:: James Whitney;.
    [Google Scholar]
  34. Worringer, Wilhelm. ( [1908, 1953] 1997), Abstraction and Empathy: A Contribution to the Psychology of Style (trans. M. Bullock.), New York:: International University Press;.
    [Google Scholar]
  35. Worringer, Wilhelm. ( [1911] 1927) Form in Gothic (Formprobleme der Gotik) (trans. H. Read.), London:: Putnam;.
    [Google Scholar]
  36. Youngblood, Gene. ( 1970), Expanded Cinema, New York:: Dutton;.
    [Google Scholar]
  37. Hattler, Max. ( [2019] 2021;), ‘ Abstraction and meaning in the animation of Hong Kong artists. ’, Animation Practice, Process & Production, 8, pp. 12340, https://doi.org/10.1386/ap3_00008_1
    [Google Scholar]
/content/journals/10.1386/ap3_00008_1
Loading
/content/journals/10.1386/ap3_00008_1
Loading

Data & Media loading...

This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test