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Retells the adventures of the Monkey King who creates chaos in heaven as he challenges warriors in magical competitions.
The bestselling Journey to the West comic book by artist Chang Boon Kiat is now back in a brand new fully coloured edition. Journey to the West is one of the greatest classics in Chinese literature. It tells the epic tale of the monk Xuanzang who journeys to the West in search of the Buddhist sutras with his disciples, Sun Wukong, Sandy and Pigsy. Along the way, Xuanzang's life was threatened by the diabolical White Bone Spirit, the menacing Red Child and his fearsome parents and, a host of evil spirits who sought to devour Xuanzang's flesh to attain immortality. Bear witness to the formidable Sun Wukong's (Monkey God) prowess as he takes them on, using his Fiery Eyes, Golden Cudgel, Somersault Cloud, and quick wits! Be prepared for a galloping read that will leave you breathless!
The MONKEY Series are picture books based on the ancient Chinese fantasy novel journey to the West, a story rich in tales about demons and monsters who try to stop the Tang Priest Xuanzang from reaching the Thunder Monastery in India to fetch Buddhist scriptures. The real hero of this novel, loved for four hundred years by Chinese readers, is the resourceful, brave and humorous Monkey.
With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry's infancy, its Golden Age (Shanghai Animation Film Studio) and today's Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).
A mischievous monkey acquires god-like powers and creates havoc in heaven. First part of a translation of the Chinese legend as retold in the sixteenth-century novel Journey to the West.
Mao Zedong envisioned a great struggle to "wreak havoc under the heaven" when he launched the Cultural Revolution in 1966. But as radicalized Chinese youth rose up against Party officials, events quickly slipped from the government's grasp, and rebellion took on a life of its own. Turmoil became a reality in a way the Great Leader had not foreseen. The Cultural Revolution at the Margins recaptures these formative moments from the perspective of the disenfranchised and disobedient rebels Mao unleashed and later betrayed. The Cultural Revolution began as a "revolution from above," and Mao had only a tenuous relationship with the Red Guard students and workers who responded to his call. Yet it was these young rebels at the grassroots who advanced the Cultural Revolution's more radical possibilities, Yiching Wu argues, and who not only acted for themselves but also transgressed Maoism by critically reflecting on broader issues concerning Chinese socialism. As China's state machinery broke down and the institutional foundations of the PRC were threatened, Mao resolved to suppress the crisis. Leaving out in the cold the very activists who had taken its transformative promise seriously, the Cultural Revolution devoured its children and exhausted its political energy. The mass demobilizations of 1968-69, Wu shows, were the starting point of a series of crisis-coping maneuvers to contain and neutralize dissent, producing immense changes in Chinese society a decade later.
Able to shape-shift and ride the clouds, wielding a magic cudgel and playing tricks, Sun Wukong (aka Monkey or the Monkey King) first attained superstar status as the protagonist of the sixteenth-century novel Journey to the West (Xiyou ji) and lives on in literature and popular culture internationally. In this far-ranging study Hongmei Sun discusses the thousand-year evolution of this figure in imperial China and multimedia adaptations in Republican, Maoist, and post-socialist China and the United States, including the film Princess Iron Fan (1941), Maoist revolutionary operas, online creative writings influenced by Hong Kong film A Chinese Odyssey (1995), and Gene Luen Yang’s graphic novel American Born Chinese. At the intersection of Chinese studies, Asian American studies, film studies, and translation and adaptation studies, Transforming Monkey provides a renewed understanding of the Monkey King character as a rebel and trickster, and demonstrates his impact on the Chinese self-conception of national identity as he travels through time and across borders.
The mischievous Monkey King attempts to achieve immortality the easy way, gains god-like powers, and wreaks havoc in heaven.
Weaving political commentaries, cultural adventures, and Chinese and Native American Indian myths into stories rich in adventure and mystery, Griever: An American Monkey King in China is about Griever de Hocus, a reservation-born tribal trickster, who accompanied by his rooster, Matteo Ricci, takes on the monolithic institutions of the People's Republic of China.
China has been one of the first countries to develop its own aesthetic for dynamic images and to create animation films with distinctive characteristics. In recent years, however, and subject to the influence of Western and Japanese animation, the Chinese animation industry has experienced several new stages of development, prompting the question as to where animation in China is heading in the future. This book describes the history, present and future of China’s animation industry. The author divides the business’s 95-year history into six periods and analyses each of these from an historical, aesthetic, and artistic perspective. In addition, the book focuses on representative works; themes; directions; artistic styles; techniques; industrial development; government support policies; business models; the nurturing of education and talent; broadcasting systems and animation. Scholars and students who are interested in the history of Chinese animation will benefit from this book and it will appeal additionally to readers interested in Chinese film studies.