Abstract
In his article "Masereel, Lu, and the Development of the Woodcut Picture Book (連環畫) in China" Tie Xiao situates Chinese "continuous pictorial narratives" (lianxu tuhua) by radical woodcut artists in the 1930s within a global exchange of the visual. Further, Xiao examines woodcut artists' efforts to develop an expressive form of mass-oriented art through creative engagement with the Japanese creative print (hanga) movement and the "woodcut novels" by the Belgian graphic artist Frans Masereel. Xiao argues that central to self-produced woodcut pictorial narratives is the dilemma between the intimate and private impulse of self-expression and the desired immediacy and accessibility of form.
Recommended Citation
Xiao, Tie.
"Masereel, Lu, and the Development of the Woodcut Picture Book (連環畫) in China."
CLCWeb: Comparative Literature and Culture
15.2
(2013):
<https://doi.org/10.7771/1481-4374.2230>
This text has been double-blind peer reviewed by 2+1 experts in the field.
The above text, published by Purdue University Press ©Purdue University, has been downloaded 1327 times as of 03/26/24.
Included in
American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, Theatre and Performance Studies Commons