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