Animated Travels: 60 Years of Hong Kong Animation

The Footprint of Hong Kong Animation 

Posted In | Blog Categories: 60 Years of Hong Kong Animation | Site Categories: 2D, 3D, CG, Films, People, Places

By Keeto Lam

Editor’s Note: Film critic and historian Keeta Lam did a presentation at the 60 Years of Hong Kong Animation event and was kind enough to provide AWN with a great synopsis of the history of animation in Hong Kong.

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Animation production in Hong Kong has roughly over sixty years in history. It is not until recently has it been recognized and appreciated as a respected industry.

As early as in the 20’s, when movie making was just emerging, the four Wan brothers of Shanghai had already been considering making an animation film. In the 40’s, Wan lai-min and his twin Wan gu-chen came south to Hong Kong to look for filming resources.  They used their animation "Princess Iron Fan", released in ’41 in Shanghai, as part of the Hong Kong film"Father and Son" which was directed by Shuen Wei in 1953.  The “Movie within movie” format made the record as the earliest animation in Hong Kong.  Until 50’s to 60’s, Hong Kong animation pioneer Mr. Lo kei-ping used self-developed special animation  technique to produce the early special effect films such as"The Buddha's Palm"in ’64(a series of seven films). A lot of animations were hand drawn onto the film stock, without optical synthesis.  Those “hand drawn” film copies were extremely precious.

Filmart Hong Kong 2012

Posted In | Blog Categories: 60 Years of Hong Kong Animation | Site Categories: Events, Films, Places
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By Tony Willis

Blipvfx Productions

Well as always Hong Kong is a great host to people from around the world and as always puts on a fabulous show. I arrived in Hong Kong and have not stopped meeting people for 4 days, which is great.

The first day saw me wandering around the digital media hall, which I have to say was bigger better prepared and a lot more digital content was around. Many more animation companies, lots of visual effects companies and of course cameras films and hardware for stereoscopic filming. In fact very hi technology was all around, but also low technology was also in abundance, (Hong Kong always has its own solutions) this bodes well as much of this was Hong Kong based, and you absolute need a multiply approach to this type of work.

I managed to meet many old friends there and touch base with many new friends, so the social aspect of Filmart is excellent, even if you find out that these new friends was only down the street from you.