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This article explores the contribution made by anthropological-semiotics of rhythm when it comes to comprehending visual modernity of East Asia, with a particular focus on China’s experience. From the humanistic foundations of rhythm including cultural anthropological perspectives, traditions of rhythmanalysis, and semiotic thinking of rhythm, this paper demonstrates the construction of a semiotic square of rhythm along with a topology of rhythmia; then provides a case study of rhythmanalysis surrounding the emergence of the first Chinese feature animated film entitled  Princess Iron Fan ; and ultimately presents the potential of establishing the multiplicity of modernities based on the transdisciplinary examination of rhythm in visual cultures of East Asia.

Anthropological-semiotics of rhythm and animating modernity in China: A rhythmanalysis of Princess Iron Fan