Is anime a genre or a media? Is it a branch of film or another mode?
I guess its hard to decide but i would say it is a genre of a media and a form which allows people to enter a new world through media as it is generally used in TV, video, video games, films etc.
What place does animation occupy in Asian societies? How different is this across Asia? Is it a high or low cultural genre/media? how is anime culturally located?
According to Napier (2005), anime is a abbreviated term in Japanese pronunciation and became a new English word from 'animation'. This tells how Japanese animation has become so popular and well-known for its animation to Western world as well as Eastern. It is huge and massive in Japan as he states as 'mass culture', contrast to 'sub culture' in America. Anime is a popular cultural form that clearly builds on previous high cultural traditions. Not only does the medium show influences from such Japanese traditional arts as Kabuki and the woodblock print but it also makes use of worldwide artistic traditions of twentieth century cinema and photography. The issues it explores, often are familiar to readers of contemporary 'high culture' literature. Japaneses' animated works are a major part of the output of Japanese studios. Animated films are also far more important in Japan than in the West. Unlike cartoons in the West, anime in Japan is truly a mainstream pop cultural phenomenon. Anime is watched and accepted from little children to grandparaents. Its popularity is also can be seen in Korea especially in the last decade that i watched many of them and my friends as well. May not be not much as in Japan but i also know how it has been garderning its popularity.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.
Wednesday, September 29, 2010
Monday, September 27, 2010
Week 9
1. The details of Assessment 2 are now available. This is due on Friday week 14. For this assessment you can choose to write either a short work of fanfic and an accompying commentary, or choose one of the essay questions.
Note: If you choose the essay, try and maintain the same writing style as the blogs. In the past, many students on hearing the word 'essay', returned to writing in a secondary school type of essay prose (terrible). For most of you, your blogs are actually more academic and closer to a good literary type of scholarship.
2. There is a Thurs screening this week of two Buffy programmes - this is compulsory as usual and I will be taking a register of attendence. Again, this week the room will be WE230 (click here for a map) and the screening will start at 12.10 - don't be late.
Note: If you choose the essay, try and maintain the same writing style as the blogs. In the past, many students on hearing the word 'essay', returned to writing in a secondary school type of essay prose (terrible). For most of you, your blogs are actually more academic and closer to a good literary type of scholarship.
2. There is a Thurs screening this week of two Buffy programmes - this is compulsory as usual and I will be taking a register of attendence. Again, this week the room will be WE230 (click here for a map) and the screening will start at 12.10 - don't be late.
Sunday, September 26, 2010
- Week 7 -
- What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle?
Speculative fiction is one of the literature works which are more highly imaginative fiction genres. Almost fiction genres are encompassed in the speculative fiction, for example, science fiction, fantasy, horror, supernatural fiction, superhero fiction, utopian and alternate history (Golden, 2010). However, speculative fiction focuses less on the technology and more on issues of social change (Goldschlager & Eos, 1997).
As a result, the literature genre of The Man in the High Castle is a science fiction, but as we view it broadly, it also could be in the speculative genre.
- What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?
The major themes and concerns of The Man in the High Castle are related to the illusions with hiding reality. Throughout the novel, Dick proposes that the better world than The Man in the High Castle might exist somewhere (Brown, 2001). I found that the novel is concerned by the belief and faith to other worlds.
The Man in the High Castle belongs to the science fiction genre. Dick explores the features of SF through setting the background time of the novel; that is the Alternative World. As Brown (2001) explains the writer shows his imperative idea with metaphysics, perception of the actuality nature, and the power misuse by using the illusion factors of the SF genre. “The Man in the High Castle, in its depiction of little people living small lives with honour and confusion – and in its examination of the conflicting ideas of totalitarianism and Eastern philosophy – is perhaps Dick’s finest book, and one of the very best science-fiction novels ever published” (Brown, 2001, p.12).
- What does Dick (1995) himself theorise about the I Ching?
The theory of I Ching (The Book of Changes) used the synchronicity as a basis (Dick, 1995). According to Dick (1995), it is analytical and diagnostic, not predictive. This means, the book is not a means to predict what may exactly occur in the future time just may possibly happen. I think that is why it is used as a theme that appears in SF constantly like The Man in the High Castle.
I Ching theory is prominent and remarkable point in The Man in the High Castle. Three characters; Nobusucke Tagomi, Frank Frink and Juliana Frink are based on the theory of I Ching. As Dick (1995) shows the I Ching by diffused it and as a part of their cultural domination under the authority of those three characters.
References:
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle(p.v-xii). London: Penguin.
Dick, P.K. (1995). Schizophrenia and the I Ching. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.175-182). New York: Vintage.
Golden, J. (2010). What is speculative fiction: What literary genres & subgenres are considered speculative fiction? Retrieved 26, September, 2010 from http://www.squidoo.com/speculativefiction
Goldschlager, A. & Eos, A. (1997). Science fiction & fantasy: A genre with many faces. Retrieved 26, September, 2010 from http://www.sfsite.com/columns/amy26.htm
Speculative fiction is one of the literature works which are more highly imaginative fiction genres. Almost fiction genres are encompassed in the speculative fiction, for example, science fiction, fantasy, horror, supernatural fiction, superhero fiction, utopian and alternate history (Golden, 2010). However, speculative fiction focuses less on the technology and more on issues of social change (Goldschlager & Eos, 1997).
As a result, the literature genre of The Man in the High Castle is a science fiction, but as we view it broadly, it also could be in the speculative genre.
- What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of SF?
The major themes and concerns of The Man in the High Castle are related to the illusions with hiding reality. Throughout the novel, Dick proposes that the better world than The Man in the High Castle might exist somewhere (Brown, 2001). I found that the novel is concerned by the belief and faith to other worlds.
The Man in the High Castle belongs to the science fiction genre. Dick explores the features of SF through setting the background time of the novel; that is the Alternative World. As Brown (2001) explains the writer shows his imperative idea with metaphysics, perception of the actuality nature, and the power misuse by using the illusion factors of the SF genre. “The Man in the High Castle, in its depiction of little people living small lives with honour and confusion – and in its examination of the conflicting ideas of totalitarianism and Eastern philosophy – is perhaps Dick’s finest book, and one of the very best science-fiction novels ever published” (Brown, 2001, p.12).
- What does Dick (1995) himself theorise about the I Ching?
The theory of I Ching (The Book of Changes) used the synchronicity as a basis (Dick, 1995). According to Dick (1995), it is analytical and diagnostic, not predictive. This means, the book is not a means to predict what may exactly occur in the future time just may possibly happen. I think that is why it is used as a theme that appears in SF constantly like The Man in the High Castle.
I Ching theory is prominent and remarkable point in The Man in the High Castle. Three characters; Nobusucke Tagomi, Frank Frink and Juliana Frink are based on the theory of I Ching. As Dick (1995) shows the I Ching by diffused it and as a part of their cultural domination under the authority of those three characters.
References:
Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle(p.v-xii). London: Penguin.
Dick, P.K. (1995). Schizophrenia and the I Ching. In Sutin, L. (Ed.), The Shifting Realities of Philip K. Dick (pp.175-182). New York: Vintage.
Golden, J. (2010). What is speculative fiction: What literary genres & subgenres are considered speculative fiction? Retrieved 26, September, 2010 from http://www.squidoo.com/speculativefiction
Goldschlager, A. & Eos, A. (1997). Science fiction & fantasy: A genre with many faces. Retrieved 26, September, 2010 from http://www.sfsite.com/columns/amy26.htm
Saturday, September 25, 2010
Week 4
How does Tolkien (1964) define fantasy? Compare and contrast this to the other definitions from last week's reader? Is Tolkien's notion of the 'faery story' linked to fantasy genre? How closely?
While i was reading his article, i found fairy-story and fantasy are interrelated to each other and hard to separate them that nearly the same genre so i just put them together all related things. The one i found is that both are related to the supernaturalism and magic. There are always found a number of supernatural and magical symbols in those two genres, especially in that when they describe the beauty of nature as Tolkien (1964) defines 'the realm of fairy-story is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless seas and stars uncounted; beauty that is an enchantment, and an ever-present peril. This can also be the definition of fantasy genre. In addition, he considers Faerie contains many things besides elves and fays, and besides dwarfs, …it holds the seas, the sun.. and the earth, and all things that are in it: tree and bird, etc. His notion of faery story is the one that involves a faery. The other supporting definition of fairies i found is that 'supernatural beings of diminutive size'. Another one he defines is, a fairy-story is one which touches on or uses Faerie, whatever its own main purpose maybe: satire, adventure, morality, fantasy. Faerie itself may perhaps most nearly be translated by Magic, magic of a peculiar mood and power. Attebery (1980) also states, the fantasy treats impossibilities and magical objects.
References
Attebery,. B. The Fantasy Tradition In American Literature: From Iriving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10.
Tolkien, J. R. R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.
Friday, September 24, 2010
Week Six
According to Napier, how does this anime problematise traditional (or conservative) constructions of gender, class and race?
The use of females in male-type roles in Mononoke problematises traditional constructions of gender, because normally you would have males in charge of a village or taking a group of people into battle. In a society where most likely a male is the provider for his family and the female is someone who nurtures her children, the film Princess Mononoke says otherwise. There are three main female characters that portray their independency in their domain – San, Moro, and Eboshi. San and her adoptive wolf mother – Moro who fight to protect the forest from the humans (namely Eboshi and her village people); Eboshi, who takes in outcasts and people who have incurable diseases and gets them to work. She’s also involved with the military, hence the reason why she’s out to destroy the Shishigami (Cavallaro, 2006).
In Princess Mononoke, we find that a female is the leader of the Tatara. Napier, 2005 says that if Lady Eboshi was a male character, the film would’ve been less-interesting and also the audience might’ve perceived the character to be typical of a male going against helpless nature. “Without any apparent family ties or hint of male support, she rules Tatara independently” (Napier, 2005) Male leaders such as the emperor and the court struggle to maintain powers that are beyond their control, so, guidance is sought from females – one, from a wolf, and the other from a leader who manufactures weapons. San and Eboshi are capable of living independent lives where the male figure isn’t needed; One of the reasons why this is so is because they’re too preoccupied with other things – “San with her companions in the natural world, Eboshi with her industrialising community” (Napier, 2005).
Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
Miyazaki had created a story about a girl who was raised by wolves; this story however was not in animation form at the time (1980). It wasn’t until his other work in 1995 - Whisper of the Heart had produced extra money that he went back and revisited the idea/story he had earlier. This resulted in the creation of the animated film Princess Mononoke that came to a total of $19.6 million to produce (Cavallaro, 2006).
New equipment/technology had to be created for certain parts of the film – the snake-like feelers on the angry Boar when it charges for Ashitaka and Yakul required technique that had to be done by a computer generated 3D wiremesh model – this was created especially for that scene (Cavallaro, 2006). Another technique used for the creation of the film was Digital Composition, Cavallaro talks ‘layers’, and how each layer depicts one set of elements such as shadows, backgrounds of mountains in the distance, etc. So, the more detailed a particular scene was, meant that there were quite a lot of layers used for it (Cavallaro, 2006)
In regards to the amount spent on making this film I think it’s safe to say that $19.6 million is a fare amount in terms of all the technology and techniques used to produce it. I didn’t know such technology even existed, but it just goes to show the great lengths Miyazaki (and other animation film producers) went to create this film, even to the extent that new technology was created.
Reference List
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.
The use of females in male-type roles in Mononoke problematises traditional constructions of gender, because normally you would have males in charge of a village or taking a group of people into battle. In a society where most likely a male is the provider for his family and the female is someone who nurtures her children, the film Princess Mononoke says otherwise. There are three main female characters that portray their independency in their domain – San, Moro, and Eboshi. San and her adoptive wolf mother – Moro who fight to protect the forest from the humans (namely Eboshi and her village people); Eboshi, who takes in outcasts and people who have incurable diseases and gets them to work. She’s also involved with the military, hence the reason why she’s out to destroy the Shishigami (Cavallaro, 2006).
In Princess Mononoke, we find that a female is the leader of the Tatara. Napier, 2005 says that if Lady Eboshi was a male character, the film would’ve been less-interesting and also the audience might’ve perceived the character to be typical of a male going against helpless nature. “Without any apparent family ties or hint of male support, she rules Tatara independently” (Napier, 2005) Male leaders such as the emperor and the court struggle to maintain powers that are beyond their control, so, guidance is sought from females – one, from a wolf, and the other from a leader who manufactures weapons. San and Eboshi are capable of living independent lives where the male figure isn’t needed; One of the reasons why this is so is because they’re too preoccupied with other things – “San with her companions in the natural world, Eboshi with her industrialising community” (Napier, 2005).
Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
Miyazaki had created a story about a girl who was raised by wolves; this story however was not in animation form at the time (1980). It wasn’t until his other work in 1995 - Whisper of the Heart had produced extra money that he went back and revisited the idea/story he had earlier. This resulted in the creation of the animated film Princess Mononoke that came to a total of $19.6 million to produce (Cavallaro, 2006).
New equipment/technology had to be created for certain parts of the film – the snake-like feelers on the angry Boar when it charges for Ashitaka and Yakul required technique that had to be done by a computer generated 3D wiremesh model – this was created especially for that scene (Cavallaro, 2006). Another technique used for the creation of the film was Digital Composition, Cavallaro talks ‘layers’, and how each layer depicts one set of elements such as shadows, backgrounds of mountains in the distance, etc. So, the more detailed a particular scene was, meant that there were quite a lot of layers used for it (Cavallaro, 2006)
In regards to the amount spent on making this film I think it’s safe to say that $19.6 million is a fare amount in terms of all the technology and techniques used to produce it. I didn’t know such technology even existed, but it just goes to show the great lengths Miyazaki (and other animation film producers) went to create this film, even to the extent that new technology was created.
Reference List
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.
Week 3
How has fantasy as a genre been defined? Find at least five formative definitions in Attebery (1980).
In Attebery (1980)‘s article, according to W. R. Irwin, fantasy is pointed out as ‘an overt violation of what is generally accepted as possibility’ and ‘whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric (p. 9).’ Fantasy, then, presupposes a view of exterior reality which it goes on to contradict. It is, as J. R. R. Tolkien said, ‘founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact but not slavery to it.’
Again, according to Attebery (1980), the fantasy is defined as any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law. It can involve beings whose existence we know to be impossible, like dragons, flying horses, or shape-shifting men. It can revolve around magical object, and it can proceed through events that violate fundamental assumptions about matter and life. Fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true.
Can the genre legitimately be defined by examples?
Of course, it can, I believe, by those of impossible things such as magical objects that are defined as above. Attebery (1980) argues by demanding a straightforward treatment of impossible characters, objects, or events, we can distinguish between fantasy and related genres. A good example, in Harry potter, there is flying cars and brooms
References
Attebery,. B. The Fantasy Tradition In American Literature: From Iriving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10.
In Attebery (1980)‘s article, according to W. R. Irwin, fantasy is pointed out as ‘an overt violation of what is generally accepted as possibility’ and ‘whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric (p. 9).’ Fantasy, then, presupposes a view of exterior reality which it goes on to contradict. It is, as J. R. R. Tolkien said, ‘founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact but not slavery to it.’
Again, according to Attebery (1980), the fantasy is defined as any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law. It can involve beings whose existence we know to be impossible, like dragons, flying horses, or shape-shifting men. It can revolve around magical object, and it can proceed through events that violate fundamental assumptions about matter and life. Fantasy treats these impossibilities without hesitation, without doubt, without any attempt to reconcile them with our intellectual understanding of the workings of the world or to make us believe that such things could under any circumstances come true.
Can the genre legitimately be defined by examples?
Of course, it can, I believe, by those of impossible things such as magical objects that are defined as above. Attebery (1980) argues by demanding a straightforward treatment of impossible characters, objects, or events, we can distinguish between fantasy and related genres. A good example, in Harry potter, there is flying cars and brooms
References
Attebery,. B. The Fantasy Tradition In American Literature: From Iriving to Le Guin. Bloomington: Indiana University Press, 1980, 1-10.
wk 2
- What changes when a graphic novel is animated?
I think the greatest loss in animating graphic novels is the loss of the readers’ interpretational freedom or closure. Comic panels offer a ‘staccato rhythm of unconnected moments’. Via closure we connect, with imagination, these moments and mentally construct a continuous reality. Animations remove this possibility of closure because they already provide a continuous timeframe and therefore remove or limit our ability to imagine.
- What audience does the animated version of The Blue Lotus target?
In my opinion, it appeals to everyone old to young, but because it is quite classic and bit a bit dated, it may target more to middle aged people. Also, perhaps Japanese and Chinese as well as it highlights the Japanese invasion and there is a young Chinese boy who become friends with Tintin.
- What does Baetens (2001) mean by ‘monstration, ‘graphiation’ and the graphiateur’?
These terms are derived from Traces en cases by Philippe Marion (1993).
Marion proposes to call ‘graphication’ the graphic and narrative enunciation of the comics, and ‘graphiateur’ the agent responsible for it. The analysis of lines, contours, and colours, both of the drawings and of the letters and words, can give an idea of what the graphiateur and his or her graphiation is like provided. Graphiation is at its strongest in a drawing that is in the stage of a rough copy or sketch. Monstration is to analyze the specific narrative situation of movies as the hierarchical combination of several types of narration, in other words, the narrative instance of a film the ‘image-narrator’ or ‘great image-maker’. It is also called as ‘narration’, that narrative enunciation is split between what on the one hand, according to Gaudreault.
References
Baetens, J. (2001). Revealing Traces: a new theory of graphic enunciation. In Varnum, R. & Gibbons, C. (Ed.). The Languages of Comics: word and image, (pp. 145-155). Jackson: U P of Mississippi.
Wednesday, September 22, 2010
Week Five
Is it a high or low cultural genre, according to Napier (2005)?
What was seen to be only available in Japan (anime) was now being exported to other countries such as Korea, Taiwan, Thailand, UK, Europe, etc. According to Napier, anime is a high cultural genre. Of this he says “Japan has been known for such “high cultural” products such as haiku, zen, and the martial arts, the Japan of the 1990’s began to develop a new export, animated films and videos – anime”. (Napier, 2005)
Anime is growing rapidly, TV channels are devoting time for anime to be aired for the public; video stores have devoted whole sections for anime; when the popular TV show (at that time) was airing – Pokemon, KFC had a toy-give-away included with their children’s meals. However, animation wasn’t always a popular culture. It was mainly for children, and its attention was always distracted by “Japan’s superb live-action cinema” at the time. (Napier, 2005) Not only in Japan did this happen but also in the west where Otomo Katsuhiro’s – Akira , when first looked at was seen as something for children. But as more anime films were produced and exported out of Japan, it became more noticed and also, it was seen that anime was for everyone. Of this Napier (2005) states “anime cuts across generational lines to be embraced by everyone from children to grandparents”.
I think that it is a high cultural genre, not only in Japan but in other countries, also, the fact that the majority of work that is produced within Japanese studios are animation says a lot about its demands from people who enjoy animation within and out of Japan viewed by all ages making anime, a high cultural genre.
What is the ‘shojo’ and how often does it function in anime?
Anime doesn’t refer to technology and stunning art forms alone, but also includes Shojo. Shojo means young girl, it is produced for young girls aged 12 and 13. The director of Mononoke – Miyazaki has created his female characters to be shojo-like in terms of their age and general appearance. In his films that are more of a timeless-dreamland type, shojo’s or heroine characters are “active, independant, courageous and inquisitive”. But later on he declared that he was ascertained to fend off representing female characters as “play toys for Lolita complex guys or as pets”. This is evident in one of his films – Princess Mononoke where San’s blood stained face defiantly confronts the viewer. The image would seem to connote a wholly savage disposition. Yet, the cause of San’ ferocious appearance is actually a deeply nurturing act, namely her attempt to suck a bullet out of the Wolf God’s body. (Cavallaro, 2006)
Reference
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’sMoving Castle (pp. 3-14). Hampshire: Palgrave/ Macmillan.
What was seen to be only available in Japan (anime) was now being exported to other countries such as Korea, Taiwan, Thailand, UK, Europe, etc. According to Napier, anime is a high cultural genre. Of this he says “Japan has been known for such “high cultural” products such as haiku, zen, and the martial arts, the Japan of the 1990’s began to develop a new export, animated films and videos – anime”. (Napier, 2005)
Anime is growing rapidly, TV channels are devoting time for anime to be aired for the public; video stores have devoted whole sections for anime; when the popular TV show (at that time) was airing – Pokemon, KFC had a toy-give-away included with their children’s meals. However, animation wasn’t always a popular culture. It was mainly for children, and its attention was always distracted by “Japan’s superb live-action cinema” at the time. (Napier, 2005) Not only in Japan did this happen but also in the west where Otomo Katsuhiro’s – Akira , when first looked at was seen as something for children. But as more anime films were produced and exported out of Japan, it became more noticed and also, it was seen that anime was for everyone. Of this Napier (2005) states “anime cuts across generational lines to be embraced by everyone from children to grandparents”.
I think that it is a high cultural genre, not only in Japan but in other countries, also, the fact that the majority of work that is produced within Japanese studios are animation says a lot about its demands from people who enjoy animation within and out of Japan viewed by all ages making anime, a high cultural genre.
What is the ‘shojo’ and how often does it function in anime?
Anime doesn’t refer to technology and stunning art forms alone, but also includes Shojo. Shojo means young girl, it is produced for young girls aged 12 and 13. The director of Mononoke – Miyazaki has created his female characters to be shojo-like in terms of their age and general appearance. In his films that are more of a timeless-dreamland type, shojo’s or heroine characters are “active, independant, courageous and inquisitive”. But later on he declared that he was ascertained to fend off representing female characters as “play toys for Lolita complex guys or as pets”. This is evident in one of his films – Princess Mononoke where San’s blood stained face defiantly confronts the viewer. The image would seem to connote a wholly savage disposition. Yet, the cause of San’ ferocious appearance is actually a deeply nurturing act, namely her attempt to suck a bullet out of the Wolf God’s body. (Cavallaro, 2006)
Reference
Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’sMoving Castle (pp. 3-14). Hampshire: Palgrave/ Macmillan.
Sunday, September 19, 2010
- Week 6 -
- What are the underlying thematics of Princess mononoke? How does it ‘defamiliarise’ its historical setting, according to Napier (2005)?
Princess mononoke is underlying the notions of Japanese identity in Japanese society. In general, the role and position of women is clearly defined, however this Princess mononoke film images the main female character, Eboshi having a powerful leadership and strong identity. Also another theme, the nature and humans have to exist together is remarkably located.
According to Napier (2005), this film defamiliarises conventional concepts of Japanese history when it was the Muromachi era by Miyazaki. The most important part of Princess mononoke can be divided into two parts as subversion and defamiliarisation. “The film defamiliarises two important icons in Japanese culture, the myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine with the natural” (Napier, 2005, p.233). For example, Eboshi character is changed the conventional view and belief of the traditional female role to people. Eboshi is described like a male and her personality is violent-tempered and wild.
When I was doing this question, I realize that the theme of Princess mononoke can be linked to the ‘defamiliarise’ part in Napier’s reading. The characters shows Japanese identity and characteristics in the society and those are described by the defamiliarise idea. In the film, humans damaged the nature to fill their desire and wish for the development of Japan. I think there is always the director’s purposal in the story. Through the story of Princess mononoke, it implies the Miyazeki’s ideal world that humans must coexist with nature.
- How do it and other Miyazaki films address the humanity/nature divide, according to Wright (2005)? Could Miyazaki’s vision be described as in some sense religions (in as much as it conveys a sense of the sacred?)
As I mentioned before, Miyazaki has chosen the Princess mononoke background, Muromachi era. As Wright (2005) explains, during Muromachi era, there was a huge fluctuation in relationship between the humanity and nature in Japan. Miyzaki put a power changing between the natural world and newly industrialised humans in the film.
In Wright’s reading, it is explained the Miyazaki’s vision by connecting to the Shinto, native religion of Japan. “In Miyzaki’s vision these two important tenets of Shinto, respecting the kami and love of nature, are under threat from modernization and industrialization, there is a sense that, like the infinitely accommodating faith of Shinto, there is a position where the conflict can be reconciled” (Wright, 2005, p.12). The majestic camphor tree is situated as an important position to both kami and ancestors. In the case of My Neighbour Totoro which is another Miyazaki’s film, the giant tree signifies the store place of the strengths of Sheeta’s ancestors and the rulers of a forceful empire (Wright, 2005).
References:
Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.
Wright, L. (2005). Nature Spirits, Giant Insects and World Trees: the nature vision of Hayao Miyazaki. In the Journal of Religion of Popular Culture. Volume X: Summer 2005.
Princess mononoke is underlying the notions of Japanese identity in Japanese society. In general, the role and position of women is clearly defined, however this Princess mononoke film images the main female character, Eboshi having a powerful leadership and strong identity. Also another theme, the nature and humans have to exist together is remarkably located.
According to Napier (2005), this film defamiliarises conventional concepts of Japanese history when it was the Muromachi era by Miyazaki. The most important part of Princess mononoke can be divided into two parts as subversion and defamiliarisation. “The film defamiliarises two important icons in Japanese culture, the myth of the Japanese as living in harmony with nature, often expressed through a union of the feminine with the natural” (Napier, 2005, p.233). For example, Eboshi character is changed the conventional view and belief of the traditional female role to people. Eboshi is described like a male and her personality is violent-tempered and wild.
When I was doing this question, I realize that the theme of Princess mononoke can be linked to the ‘defamiliarise’ part in Napier’s reading. The characters shows Japanese identity and characteristics in the society and those are described by the defamiliarise idea. In the film, humans damaged the nature to fill their desire and wish for the development of Japan. I think there is always the director’s purposal in the story. Through the story of Princess mononoke, it implies the Miyazeki’s ideal world that humans must coexist with nature.
- How do it and other Miyazaki films address the humanity/nature divide, according to Wright (2005)? Could Miyazaki’s vision be described as in some sense religions (in as much as it conveys a sense of the sacred?)
As I mentioned before, Miyazaki has chosen the Princess mononoke background, Muromachi era. As Wright (2005) explains, during Muromachi era, there was a huge fluctuation in relationship between the humanity and nature in Japan. Miyzaki put a power changing between the natural world and newly industrialised humans in the film.
In Wright’s reading, it is explained the Miyazaki’s vision by connecting to the Shinto, native religion of Japan. “In Miyzaki’s vision these two important tenets of Shinto, respecting the kami and love of nature, are under threat from modernization and industrialization, there is a sense that, like the infinitely accommodating faith of Shinto, there is a position where the conflict can be reconciled” (Wright, 2005, p.12). The majestic camphor tree is situated as an important position to both kami and ancestors. In the case of My Neighbour Totoro which is another Miyazaki’s film, the giant tree signifies the store place of the strengths of Sheeta’s ancestors and the rulers of a forceful empire (Wright, 2005).
References:
Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.
Wright, L. (2005). Nature Spirits, Giant Insects and World Trees: the nature vision of Hayao Miyazaki. In the Journal of Religion of Popular Culture. Volume X: Summer 2005.
Thursday, September 16, 2010
Week Six
What are the underlying thematics of Princess Mononoke? How does it 'defamiliarize' its historical setting according to Napier?
The underlying thematics of Princess Mononoke would the importance of the 'marginals'. 'The film's marginals comprise a diverse and unusual group that includes women, outcasts, and non-Yamato (nonethnic Japanese) tribes ... the most unusual inclusion is that of the kami' Napier (2005). After all, this is a film where the focus is not on the typical protagonists whom dominate Japans history pages, but in fact is a story of the marginals history. The key marginals within Princess Mononoke would be San, Lady Eboshi and the wolf god Moro (San's mother figure).
San creates a sense of unease in the viewer as she at her most pronounced when 'shown as a ruthless figure of virtually urelenting violence .. clad in a costurm of fur and bone, her face bloody from sucking out blood from a wound in Moro's side' Napier (2005). Eboshi is a unique coalescence of nuturing and destruction. She is protective of her citizens within Tatara but at the same time is 'fanatically determined to destroy the shishigami and by extension, the natural world of the forest' and 'Moro appears to be a wise and brave mother, but she is also a ferocious killer .. clearly sentient and intelligent, she is a far cry from the cuddly anthropomorphic creations that viewers of family animation have come to expect' Napier (2005).
Add these three to the a plot that breaks the myth of Japanese living in harmony with nature and the myth of the feminine as long suffering and supportive beings, and you begin to see the complexities of Miyazaki's perspective on his nations history. Make no mistake, this is a story of battle between humanity and the gods. By threading fantasy with fact, Miyzaki successfully defamiliarizes and 'creates a world that appears to have some kind of historical basis but then consistently destabilizes audience expectations of how that world should be' Napier (2005).
According to Napier, how does this problematise traditional (or conservative) constructions of gender, class and race?
By empowering the marginals, Miyzaki defys the social standards to which Japanese have easily conformed to throughout their history where women knowingly take their place behind their male counterparts and those who raise their voice are historically punished. However with characters such as Eboshi and San, one can see how Miyazaki questions the morales of gender classes and race. With emphasis on these women, viewers are exposed to their typically male dominated roles and begin to question Miyazaki's motives behind such a move. Napier says that the film refuses to sentimentalize the medieval history it highlights, preferring to problematize the past and implicitly, the attitudes towards it.
In doing so, Princess Mononoke 'undermines a plethora of female stereotypes from conventional Japanese culture and from the anime world itself' Napier (2005). A classic example of this would be Eboshi's leadership over her small utopian village Tatara. Although there are men present it is the women who do all the main labour and it is them who Eboshi trusts to protect the village should they come under attack. 'Eboshi's character thus defamiliarizes both our notions of femininity and of culture, showing a more complex face of the feminine' Napier (2005). Destabilizing the conventional view of the feminine is a key attribute for Princess Mononoke; Eboshi is a woman who can both destory and rebuild, compelled into her calamitous attack by her instinctual desire to protect her community. San's character is associated with assault, destruction and profound, unstoppable rage and Moro; despite being both female and a mother, lacks any conventional maternal characteristics.
The underlying thematics of Princess Mononoke would the importance of the 'marginals'. 'The film's marginals comprise a diverse and unusual group that includes women, outcasts, and non-Yamato (nonethnic Japanese) tribes ... the most unusual inclusion is that of the kami' Napier (2005). After all, this is a film where the focus is not on the typical protagonists whom dominate Japans history pages, but in fact is a story of the marginals history. The key marginals within Princess Mononoke would be San, Lady Eboshi and the wolf god Moro (San's mother figure).
San creates a sense of unease in the viewer as she at her most pronounced when 'shown as a ruthless figure of virtually urelenting violence .. clad in a costurm of fur and bone, her face bloody from sucking out blood from a wound in Moro's side' Napier (2005). Eboshi is a unique coalescence of nuturing and destruction. She is protective of her citizens within Tatara but at the same time is 'fanatically determined to destroy the shishigami and by extension, the natural world of the forest' and 'Moro appears to be a wise and brave mother, but she is also a ferocious killer .. clearly sentient and intelligent, she is a far cry from the cuddly anthropomorphic creations that viewers of family animation have come to expect' Napier (2005).
Add these three to the a plot that breaks the myth of Japanese living in harmony with nature and the myth of the feminine as long suffering and supportive beings, and you begin to see the complexities of Miyazaki's perspective on his nations history. Make no mistake, this is a story of battle between humanity and the gods. By threading fantasy with fact, Miyzaki successfully defamiliarizes and 'creates a world that appears to have some kind of historical basis but then consistently destabilizes audience expectations of how that world should be' Napier (2005).
According to Napier, how does this problematise traditional (or conservative) constructions of gender, class and race?
By empowering the marginals, Miyzaki defys the social standards to which Japanese have easily conformed to throughout their history where women knowingly take their place behind their male counterparts and those who raise their voice are historically punished. However with characters such as Eboshi and San, one can see how Miyazaki questions the morales of gender classes and race. With emphasis on these women, viewers are exposed to their typically male dominated roles and begin to question Miyazaki's motives behind such a move. Napier says that the film refuses to sentimentalize the medieval history it highlights, preferring to problematize the past and implicitly, the attitudes towards it.
In doing so, Princess Mononoke 'undermines a plethora of female stereotypes from conventional Japanese culture and from the anime world itself' Napier (2005). A classic example of this would be Eboshi's leadership over her small utopian village Tatara. Although there are men present it is the women who do all the main labour and it is them who Eboshi trusts to protect the village should they come under attack. 'Eboshi's character thus defamiliarizes both our notions of femininity and of culture, showing a more complex face of the feminine' Napier (2005). Destabilizing the conventional view of the feminine is a key attribute for Princess Mononoke; Eboshi is a woman who can both destory and rebuild, compelled into her calamitous attack by her instinctual desire to protect her community. San's character is associated with assault, destruction and profound, unstoppable rage and Moro; despite being both female and a mother, lacks any conventional maternal characteristics.
Monday, September 6, 2010
- Week 5 -
- Is it a high or low cultural genre, according to Napier (2005)? What are some of its subgenres?
I think it is hard to define that anime belongs to high or low cultural genre. In Japan, the anime genre is culturally located at present. According to Napier (2005), anime is a one of the well known cultural form which is based on the Japanese cultural traditions. In other words, “anime clearly appears to be a cultural phenomenon worthy of being taken seriously, both sociologically and aesthetically” (Napier, 2005, p.4).
In the past, anime was treated as small subgroups of science fiction, but now anime is increasingly set the mainstream in Japan (Napier, 2005). The popularity of anime has grown extremely in other Asian and Western countries. The animation products are exported as cartoons, films and videos. As animation is getting popular, it causes the ‘anime-boom’. The anime force is powerful within commercial aspects so the global relationship is issued in a world. When I went to Japan, there were lots of animation souvenirs such as Ponyo and Totoro. I think people may know animation characters even just one. It might be one of the biggest profits in business and industry in Japan. Continually, Japan have to retain and keep this important pop-culture.
- What is the ‘shojo’ and how does it often function in anime?
Shojo is one of the subgenres of anime. According to Cavallaro (2006), the literal meaning of shojo is a ‘little female’ in Japan and is aimed at audience of young girls. The elements of anime are similar as science fiction genre, however the typical shojo stories are calmly dreamy and the feeling of atmosphere is enchanted and marvelous (Cavallaro, 2006).
The functions and characteristics of shojo are revealed and reflected in Miyazaki’s films. “Miyazaki’s heroines are active, independent, courageous and inquisitive – to the point that some commentators have described them as ‘youths wearing shojo masks’” (Cavallaro, 2006, p.11). For example, Mononoke which we have watched in a class, the main character girl, Eboshi shows the Miyazaki’s vague and distinctive features. I was surprised at Eboshi’s characteristics. Eboshi’s character was different from other general girl’s identities. She has a leadership of wolf siblings and powerful like a man’s character so I felt her strongly and intensely. As Napier (2005) explains the contents of shojo narratives genre cover both increasing fluidity of gender identity and changing the women’s roles to drastically. I have seen Miyazaki’s movies, My Neighbour Totoro, Howl’s Moving Castle, Ponyo on the Cliff and Sen & Chihiro. Although shojo features are not located, I really enjoyed them and looking forward his next film =)
References:
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’sMoving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.
I think it is hard to define that anime belongs to high or low cultural genre. In Japan, the anime genre is culturally located at present. According to Napier (2005), anime is a one of the well known cultural form which is based on the Japanese cultural traditions. In other words, “anime clearly appears to be a cultural phenomenon worthy of being taken seriously, both sociologically and aesthetically” (Napier, 2005, p.4).
In the past, anime was treated as small subgroups of science fiction, but now anime is increasingly set the mainstream in Japan (Napier, 2005). The popularity of anime has grown extremely in other Asian and Western countries. The animation products are exported as cartoons, films and videos. As animation is getting popular, it causes the ‘anime-boom’. The anime force is powerful within commercial aspects so the global relationship is issued in a world. When I went to Japan, there were lots of animation souvenirs such as Ponyo and Totoro. I think people may know animation characters even just one. It might be one of the biggest profits in business and industry in Japan. Continually, Japan have to retain and keep this important pop-culture.
- What is the ‘shojo’ and how does it often function in anime?
Shojo is one of the subgenres of anime. According to Cavallaro (2006), the literal meaning of shojo is a ‘little female’ in Japan and is aimed at audience of young girls. The elements of anime are similar as science fiction genre, however the typical shojo stories are calmly dreamy and the feeling of atmosphere is enchanted and marvelous (Cavallaro, 2006).
The functions and characteristics of shojo are revealed and reflected in Miyazaki’s films. “Miyazaki’s heroines are active, independent, courageous and inquisitive – to the point that some commentators have described them as ‘youths wearing shojo masks’” (Cavallaro, 2006, p.11). For example, Mononoke which we have watched in a class, the main character girl, Eboshi shows the Miyazaki’s vague and distinctive features. I was surprised at Eboshi’s characteristics. Eboshi’s character was different from other general girl’s identities. She has a leadership of wolf siblings and powerful like a man’s character so I felt her strongly and intensely. As Napier (2005) explains the contents of shojo narratives genre cover both increasing fluidity of gender identity and changing the women’s roles to drastically. I have seen Miyazaki’s movies, My Neighbour Totoro, Howl’s Moving Castle, Ponyo on the Cliff and Sen & Chihiro. Although shojo features are not located, I really enjoyed them and looking forward his next film =)
References:
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’sMoving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.
Sunday, September 5, 2010
Week 6
How do it and other Miyazaki films address the humanity/nature divide, according to Wright (2005)? Could Miyazaki’s vision be described as in some sense religious (inasmuch as it conveys a sense of the sacred)?
In Princess Mononoke, we can see that Miyazaki is trying to portray the increasing antagonism between nature and humans. In the era that this film was set, the relationship between humans and nature started to change, for this was a newly industrialized age, where firearms had just been introduced and forests were being destroyed to find iron (Wright, 2005). In this film, the ultimate embodiment of nature is the Spirit of the Forest, and there are characters such as the wolves and the boars who try to protect the forest from the humans (Wright, 2005). Lady Eboshi embodies modern ideals; all she cares about is being able to sell more iron, and does not think twice about cutting off the head of a forest spirit and destroying the whole forest to get it (Wright, 2005). Yet there are characters in the film, such as Ashitaka, who has nothing but respect and awe for the beauty of nature, and will do anything to save it (Wright, 2005). In the end, the forest lives on, but for how much longer? This narrative can be applied to modern day, and I think Miyazaki would like us to think about how we treat the environment, and try to make us aware that nature needs respect. Miyazaki’s depictions of the various gods in the film were made to seem somewhat holy, but not exactly in the typical religious sense. These gods embodied nature, and therefore deserved respect as they lived to bring balance to the world.
Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
According to Cavallaro (2006), Princess Mononoke cost a total of $19.6 million to make, a figure which was unheard of in Japanese animation, with a great deal of money going into creating the computer graphics (Cavallaro, 2006). This cost showed the commitment of the production team to create the best possible animation. Art directors for the film also explored various locations to draw inspiration for Princess Mononoke, observing light and water effects (Cavallaro, 2006). A reason that Princess Mononoke is seen as technically being a success is the high number of cells produced, and this was key in making the animation seem more fluent and adding an element of realism to the film (Cavallaro, 2006). There is also Miyazaki’s attention to detail and an obligation to create an atmospheric aesthetic; we can see this in everything from leaves blowing in the wind to a character’s specific facial expression to the way light hits the water (Cavallaro, 2006). Personally, I loved the animation in Princess Mononoke, it really did seem like they had put a lot of thought into making it exactly the way it was, and it was beautiful to watch.
References
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Miyazaki, H. (Director). (2006). Princess Mononoke. Toyko: Studio Ghibli Productions.
Wright, L. (2005). Nature spirits, giant insects and world trees: The nature vision of Hayao Miyazaki. In the Journal of Religion and Popular Culture. Volume X: Summer 2005.
In Princess Mononoke, we can see that Miyazaki is trying to portray the increasing antagonism between nature and humans. In the era that this film was set, the relationship between humans and nature started to change, for this was a newly industrialized age, where firearms had just been introduced and forests were being destroyed to find iron (Wright, 2005). In this film, the ultimate embodiment of nature is the Spirit of the Forest, and there are characters such as the wolves and the boars who try to protect the forest from the humans (Wright, 2005). Lady Eboshi embodies modern ideals; all she cares about is being able to sell more iron, and does not think twice about cutting off the head of a forest spirit and destroying the whole forest to get it (Wright, 2005). Yet there are characters in the film, such as Ashitaka, who has nothing but respect and awe for the beauty of nature, and will do anything to save it (Wright, 2005). In the end, the forest lives on, but for how much longer? This narrative can be applied to modern day, and I think Miyazaki would like us to think about how we treat the environment, and try to make us aware that nature needs respect. Miyazaki’s depictions of the various gods in the film were made to seem somewhat holy, but not exactly in the typical religious sense. These gods embodied nature, and therefore deserved respect as they lived to bring balance to the world.
Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being – it is generally agreed – a great work of anime?
According to Cavallaro (2006), Princess Mononoke cost a total of $19.6 million to make, a figure which was unheard of in Japanese animation, with a great deal of money going into creating the computer graphics (Cavallaro, 2006). This cost showed the commitment of the production team to create the best possible animation. Art directors for the film also explored various locations to draw inspiration for Princess Mononoke, observing light and water effects (Cavallaro, 2006). A reason that Princess Mononoke is seen as technically being a success is the high number of cells produced, and this was key in making the animation seem more fluent and adding an element of realism to the film (Cavallaro, 2006). There is also Miyazaki’s attention to detail and an obligation to create an atmospheric aesthetic; we can see this in everything from leaves blowing in the wind to a character’s specific facial expression to the way light hits the water (Cavallaro, 2006). Personally, I loved the animation in Princess Mononoke, it really did seem like they had put a lot of thought into making it exactly the way it was, and it was beautiful to watch.
References
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Miyazaki, H. (Director). (2006). Princess Mononoke. Toyko: Studio Ghibli Productions.
Wright, L. (2005). Nature spirits, giant insects and world trees: The nature vision of Hayao Miyazaki. In the Journal of Religion and Popular Culture. Volume X: Summer 2005.
Thursday, September 2, 2010
Week Five
According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China and Japan)
Origins of animation in Asia 'resulted from exposure to foreign cartoons early on, and then from training abroad or onsite' Lent (2000). A lot of this training occured in the U.S within Disney studios or by learning from western mentors sent into the east. Using China as an example, Lent explains that foreign works were always imitated. In the 1930's and 1940's chinese animators were inspired by Disney, then Soviet and East European masters and from the 1980's on; they again looked to american animators. However despite their imitations, Chinese animators were adamant in only adapting certain elements of foreign animation that fit their culture, producing stories based purely on Chinese traditions and stories being both pleasuring and educational.
Over the years, animation was fitted to asian societies and their mass media' Lent (2000). Chinese animation stressed morals and the Vietnamese focussed on wartime themes. Animation was also used as political propaganda. In terms of economics, asia relished in the potential of surging foreign income with their animated exports. Towards the end of the 1990's, the Hong Kong government struck a deal with Disney in opening a Hong Kong Disneyland theme park with 'hopes of reviving sagging tourism' Lent (2000).
With the popularity of animation growing in Asia, 'the foreign media conglomerates compete furiously for the cartoon market of Asia ... In 1997, Cartoon Network Japan was set up as a joint venture, combining Japanese and Western animation in 24-hour broadcasts .. ' Lent (2000). Lent continues this point by mentioning that for years Chinese authorities have on and off banned western favourites for local cartoon characters and either cancelled or postponed American animation as a reaction to the U.s - China trade wars. Objecting to Japanese animation imports are mainly due to the values presented and the violent and sexually explicit content. In fact anime was banned in many asian countries because of its content and the fear of Japanese cultural imperialism.
Overall animation has a colourful history within Asia and has served many purposes. Its occupation is steadfast and will continue to develop with its continuing popularity.
What is 'shojo' and how does it often function in anime?
Shojo literally means 'little female' and is a subgenre within anime whose stories sharply contrast the dark side of anime, typically found in the science fiction and wartime plots. Such stories are commonly used to designate girls aged between 12 or 13 and are portrayed as a passive being suspended in a dreamy world engrossed in an atmosphere of magic and wonder, Cavallaro (2006). Japanese are fascinated with shojo as they emit amibiguous feelings; power and powerlessness and maintain an air of innocence with them as well as awareness. Feelings which are normally associated with pre-teen girls, growing up. Despite the assumptions of sole female teenagers addicted to shojo stories, 'adult Japanese males actually constitute a significant proportion of the shojo audience and readership' Cavallaro (2006).
Animation director, Hayao Miyazaki breaks this image of shojo in his work Princess Mononoke depicting one of his female characters as a heroine. 'Miyazaki's heroines are active, independant, courageous and inquisitive .. Miyzaki has steered clear of conventional notions of feminine beauty altogether' Cavallaro (2006). Cavallaro goes on to mention that although his depictions are adventurous and risk taking, they are also seen as compassionate, gentle and magnanimous. This is captured in the scene where San attempts to suck out a bullet from the Wolf God's body. 'Miyazaki's films simultaneously deal in imaginative ways ... depicting intriguingly ambivalent characters that frequently transcend stereotypical notions of femininity and masculinity' Cavallaro (2006).
References
Lent, J. A. (2000), Animation in Asia: appropriation, reinterpretation and adoption or adaption. Retrieved 21 June, 2006, from AnimeResearch.com
Cavallaro, D. (2006). Frame of Reference. In the Anime Art of Hayao Miyzaki (pp.15-28). London: Mc Farland & Company
Wednesday, September 1, 2010
Week 5
Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?
According to Napier (2005), one of the reasons that anime is so popular in Japanese culture is because of the relationship between anime and manga. Since manga is uniquely Japanese, and has a large following in Japan, it makes sense that anime, which is largely based on manga, is so important to Japanese culture (Napier, 2005). In Japan, they place more emphasis on visual mediums than the West do, and this dates back to the 1600’s where there is evidence of comics, woodblock prints and cartoons (Napier, 2005). Although anime is undoubtedly influenced by the Western world, I still think that the style of anime is something that cannot be found in Western cultures. As the Japanese culture becomes more westernized, it is only natural that the forms of entertainment they manufacture, such as anime, will because more friendly to the Western world (Napier, 2005). In doing this, they are expanding their market, and are able to attract viewers from all over the world. Although the Western world may not yet be largely familiar with anime, there is an increasing amount of interest in it, especially in the American market (Napier, 2005). The Japanese may recognize this shift, as some have stated that they feel anime is without a national identity, and in fact may come from neither East nor West, but “another world” altogether (Napier, 2005). This is portrayed in anime films were the characters may look Western, but it is set in a distinctively Japanese setting. To me, the whole genre seems kind of confused, but I do think that adds to the strangeness of the genre, and it makes those worlds seem more interesting in a way. It has been suggested that this is done by the Japanese to escape from their own nationality, by presenting characters who appear to be Westerners but clearly are Japanese in other respects (Napier, 2005). That always confused me when I was watching Pokemon or Dragon Ball Z as a kid, because in the back of my mind I knew that they were Japanese but they distract you so much from it that you forget it completely.
What is the ‘shojo’ and how does it often function in anime?
According to Cavallaro (2006), Shojo is a word used in Japan to describe a young girl, usually of 12 or 13 years of age. Shojo represents the passage between youth and adulthood, where there is a fine distinction between the qualities possessed by a girl and the qualities possessed by a woman. Shojo embodies innocence yet accents a girl’s “budding eroticism” (Cavallaro, 2006). Shojo in anime means a light-hearted narrative, usually with female characters and aimed at young girls, teenagers or creepy men (Cavallaro, 2006). Shojo is seen as having some element of wonder and tranquility, which contrasts from anime that is set in the war or in sci-fi narratives (Cavallaro, 2006).
In Miyazaki’s films, he uses young females who appear to be shojo, but do not have the passive, dream-like nature of a typical shojo (Cavallaro, 2006). The reason for this is that Miyazaki he disagrees with portraying girls like helpless play-things for men who like young girls, which is fair enough (Cavallaro, 2006). This is also one of the reasons that I like Miyazaki’s films so much; his female characters are almost always strong and active, even if they are very young. In Princess Mononoke, this is most prevalent, as shown in the characters of San and Lady Eboshi. San had been raised by wolves, and could be as vicious and as powerful as one of her wolf siblings. Lady Eboshi was a leader, someone who everybody looked up to, and was just as ruthless as any man could be (Princess Mononoke, 2006). There are countless other examples in his other films.
References
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Miyazaki, H. (Director). (2006). Princess Mononoke. Toyko: Studio Ghibli Productions.
Napier, S. (2005). Anime: From Akira to Howl’s Moving Castle. Hampshire: Palgrave/Macmillan.
According to Napier (2005), one of the reasons that anime is so popular in Japanese culture is because of the relationship between anime and manga. Since manga is uniquely Japanese, and has a large following in Japan, it makes sense that anime, which is largely based on manga, is so important to Japanese culture (Napier, 2005). In Japan, they place more emphasis on visual mediums than the West do, and this dates back to the 1600’s where there is evidence of comics, woodblock prints and cartoons (Napier, 2005). Although anime is undoubtedly influenced by the Western world, I still think that the style of anime is something that cannot be found in Western cultures. As the Japanese culture becomes more westernized, it is only natural that the forms of entertainment they manufacture, such as anime, will because more friendly to the Western world (Napier, 2005). In doing this, they are expanding their market, and are able to attract viewers from all over the world. Although the Western world may not yet be largely familiar with anime, there is an increasing amount of interest in it, especially in the American market (Napier, 2005). The Japanese may recognize this shift, as some have stated that they feel anime is without a national identity, and in fact may come from neither East nor West, but “another world” altogether (Napier, 2005). This is portrayed in anime films were the characters may look Western, but it is set in a distinctively Japanese setting. To me, the whole genre seems kind of confused, but I do think that adds to the strangeness of the genre, and it makes those worlds seem more interesting in a way. It has been suggested that this is done by the Japanese to escape from their own nationality, by presenting characters who appear to be Westerners but clearly are Japanese in other respects (Napier, 2005). That always confused me when I was watching Pokemon or Dragon Ball Z as a kid, because in the back of my mind I knew that they were Japanese but they distract you so much from it that you forget it completely.
What is the ‘shojo’ and how does it often function in anime?
According to Cavallaro (2006), Shojo is a word used in Japan to describe a young girl, usually of 12 or 13 years of age. Shojo represents the passage between youth and adulthood, where there is a fine distinction between the qualities possessed by a girl and the qualities possessed by a woman. Shojo embodies innocence yet accents a girl’s “budding eroticism” (Cavallaro, 2006). Shojo in anime means a light-hearted narrative, usually with female characters and aimed at young girls, teenagers or creepy men (Cavallaro, 2006). Shojo is seen as having some element of wonder and tranquility, which contrasts from anime that is set in the war or in sci-fi narratives (Cavallaro, 2006).
In Miyazaki’s films, he uses young females who appear to be shojo, but do not have the passive, dream-like nature of a typical shojo (Cavallaro, 2006). The reason for this is that Miyazaki he disagrees with portraying girls like helpless play-things for men who like young girls, which is fair enough (Cavallaro, 2006). This is also one of the reasons that I like Miyazaki’s films so much; his female characters are almost always strong and active, even if they are very young. In Princess Mononoke, this is most prevalent, as shown in the characters of San and Lady Eboshi. San had been raised by wolves, and could be as vicious and as powerful as one of her wolf siblings. Lady Eboshi was a leader, someone who everybody looked up to, and was just as ruthless as any man could be (Princess Mononoke, 2006). There are countless other examples in his other films.
References
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.
Miyazaki, H. (Director). (2006). Princess Mononoke. Toyko: Studio Ghibli Productions.
Napier, S. (2005). Anime: From Akira to Howl’s Moving Castle. Hampshire: Palgrave/Macmillan.
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