- 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.
Sunday, September 19, 2010
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.
Saturday, August 28, 2010
Week Four
What parallels can you find between A Wizard of Earthsea and the Harry Potter franchise? What other influences does Burn (2005) suggest for Harry Potter?
I didnt really find any parallels between A Wizard of Earthsea and the Harry Potter franchise. Apart from both stories featuring wizards within a magical society, that was pretty much it. For a majority of the time, Burn discussed the likening of Harry Potter and his friends to that of Frodo and his companions in the Lord of The Rings. Both Rowling and Tolkien write about a group of friends who journey to defeat the evil and overcome the fear such evil creates.
The popularity of both texts are the reason Burn explores the interconnectedness each has. Potter books have grown to become a cross-media craze in which 'children's engagment extends across novels, films, computer games, the internet, and a range of merchandise worth of star wars' Burn (2005). He says that we need to think about how different literacies come into play, how they connect, what they have in common and that it is important to consider how these are located in the context of childrens contemporary media cultures.
By focussing on the social purpose Harry Potter has for children, Burn examines the different perspectives one could have on Potter. Essentially, Potter acts the child hero and also offers 'a fantasy of power in a world run by adults' Burn (2005). Burn also notes that Harrys appeal is not universal and that by a certain age, boys beome unhappy with what the character represents. The representation of Harry is explored along with the influences Harry has on children. In terms of representation, there are expectations that Harry will perform as the hero fighting his problems through external actions, however in a certain scene of Harry Potter and the Chamber of Secrets (the one where Harry and Ron are surrounded by Aragog and her family in the Forbidden Forest), Burn notices that Harry does not in fact 'perform' any heroic actions (destroying the spiders) one would assume. He is in fact saved by an enchanted Ford Anglia who speeds through the forest, leading Harry and Ron to safety.
'An explanation for Harry's relative inaction might be that he is generally, at least in the first two books, a mixture of action and vulnerability' Burn (2005). Harry is definitely depicted as the hero, but he heavily relies on his friends for aid on his journey, much like Frodo. It is this vulnerability that seems to appeal to kids (mainly girls) as 'goodness is an essential feature of the character, but they [boys and girls] value it differently. For girls, Harry is recognised as do-gooder for not harming the spiders. Boys on the other hand find Harry's inability to kill the spiders in the book to be weak.
The influence Harry has on kids differs from gender and age. Personally I agree with the perspective that Harrys inability to act was weak, but at the same time I value his lack of action. I find Harry's innocence plays a key role in the story and by not killing the spiders he maintains his naievity of the world. Eventually he becomes desensitized to thought of death but only because he's forced to in order to survive.
Why does the religious right in the US condemn fantasy according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?
'The border between what is real and what is fantasy is a shifting line that is culturally dependent' Cockrell (2004). In this case, the popular culture of fantasy literature; in particular the Harry Potter books, are fast becoming targeted by conservative parents. Their reason for attacking such a genre of literature is thanks to the belief that J.K. Rowling's books encourage witchcraft and satanism - that her books are not a form of literature but in fact manuals for the dark arts. Another prevailing belief for religious parents is that fantasy equals deceit and to allow such deceit to exist within storytelling will lead to lying and other deceitful behaviour.
Prior to the social attacks on Harry Potter, much of the previous conservative effort was used to censor sex, swear words and anything pertaining to the body. However due to the popularity of Harry Potter, censorship has now moved to the occult. Despite the use of magical characters within other texts (fairy godmother in Cinderella, the Good Witch of the West in The Wizard Of Oz), Potter takes much of the brunt mainly due to his placement within 'our world, making him more of a threat. Rowling has abandoned the realm of high fantasy and laid her story in contemporary England, rather than in the imaginary and medievally flavored otherworld ...' Cockrell (2004). Rowling also suggests that witches and wizards live among us, unseen but here nontheless adding to the fuel of many fundamentalist Christians who find this similar to that of angels or like the voice of Satan 'it is out there, unseen but ready to swallow up the hapless child who can be turned towards its seductive allure, and that it actually works'. Cockrell (2004).
Needless to say Cockrell rises to defend fantasy literature by analysing Rowling's work, searching for truth. But there are many possibilites to this truth, 'if art may make the unreal real, it may also disguise the real as fiction, and teach witchcraft in the guise of fantasy .. the idea that there may be more than one truth is disturbing to those whose religious faith rests on an unchanging world, where facts stay still' Cockrell (2004).
The fact is, Rowling allows Harry Potter to exist in a world that we percieve as real, but how real is our world when the idea that some magical being could walk beside us? Fiction must conform to what one can view as real, and when it does not, fear of the strange arise. Taking into consideration that the fear of paganism runs strong in conservative homes, one can see how Harry Potter would raise alarms. To assume that the monsters and miracles of the bible are literally true would be to also allow the unseen world to exist, creating the sense of vulnerability to supernatural forces.
Cockrell understands how religious groups would condemn fantasy, but she also understands that Harry Potter does not exist for Satanic purpose. '.. this magic lacks a god or a devil at the heart of it .. At the heart instead lies mystery .. Harry frightens only those who want the answers to be the same everytime the question is asked.' Cockrell (2004). In Rowling's world, answers are not required to be the same. After all she does say to her reader from the start: Do not count on anything staying still. This may look like your world, but do not count on it being what you thought it was.
References
Burn, A. (2005). Potter Literacy - from book to game and back again; literature, film, game and cross-media literacy. Papers: Exploration into Children's Literature, Vol 14, No 3
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1.
I didnt really find any parallels between A Wizard of Earthsea and the Harry Potter franchise. Apart from both stories featuring wizards within a magical society, that was pretty much it. For a majority of the time, Burn discussed the likening of Harry Potter and his friends to that of Frodo and his companions in the Lord of The Rings. Both Rowling and Tolkien write about a group of friends who journey to defeat the evil and overcome the fear such evil creates.
The popularity of both texts are the reason Burn explores the interconnectedness each has. Potter books have grown to become a cross-media craze in which 'children's engagment extends across novels, films, computer games, the internet, and a range of merchandise worth of star wars' Burn (2005). He says that we need to think about how different literacies come into play, how they connect, what they have in common and that it is important to consider how these are located in the context of childrens contemporary media cultures.
By focussing on the social purpose Harry Potter has for children, Burn examines the different perspectives one could have on Potter. Essentially, Potter acts the child hero and also offers 'a fantasy of power in a world run by adults' Burn (2005). Burn also notes that Harrys appeal is not universal and that by a certain age, boys beome unhappy with what the character represents. The representation of Harry is explored along with the influences Harry has on children. In terms of representation, there are expectations that Harry will perform as the hero fighting his problems through external actions, however in a certain scene of Harry Potter and the Chamber of Secrets (the one where Harry and Ron are surrounded by Aragog and her family in the Forbidden Forest), Burn notices that Harry does not in fact 'perform' any heroic actions (destroying the spiders) one would assume. He is in fact saved by an enchanted Ford Anglia who speeds through the forest, leading Harry and Ron to safety.
'An explanation for Harry's relative inaction might be that he is generally, at least in the first two books, a mixture of action and vulnerability' Burn (2005). Harry is definitely depicted as the hero, but he heavily relies on his friends for aid on his journey, much like Frodo. It is this vulnerability that seems to appeal to kids (mainly girls) as 'goodness is an essential feature of the character, but they [boys and girls] value it differently. For girls, Harry is recognised as do-gooder for not harming the spiders. Boys on the other hand find Harry's inability to kill the spiders in the book to be weak.
The influence Harry has on kids differs from gender and age. Personally I agree with the perspective that Harrys inability to act was weak, but at the same time I value his lack of action. I find Harry's innocence plays a key role in the story and by not killing the spiders he maintains his naievity of the world. Eventually he becomes desensitized to thought of death but only because he's forced to in order to survive.
Why does the religious right in the US condemn fantasy according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter as an example?
'The border between what is real and what is fantasy is a shifting line that is culturally dependent' Cockrell (2004). In this case, the popular culture of fantasy literature; in particular the Harry Potter books, are fast becoming targeted by conservative parents. Their reason for attacking such a genre of literature is thanks to the belief that J.K. Rowling's books encourage witchcraft and satanism - that her books are not a form of literature but in fact manuals for the dark arts. Another prevailing belief for religious parents is that fantasy equals deceit and to allow such deceit to exist within storytelling will lead to lying and other deceitful behaviour.
Prior to the social attacks on Harry Potter, much of the previous conservative effort was used to censor sex, swear words and anything pertaining to the body. However due to the popularity of Harry Potter, censorship has now moved to the occult. Despite the use of magical characters within other texts (fairy godmother in Cinderella, the Good Witch of the West in The Wizard Of Oz), Potter takes much of the brunt mainly due to his placement within 'our world, making him more of a threat. Rowling has abandoned the realm of high fantasy and laid her story in contemporary England, rather than in the imaginary and medievally flavored otherworld ...' Cockrell (2004). Rowling also suggests that witches and wizards live among us, unseen but here nontheless adding to the fuel of many fundamentalist Christians who find this similar to that of angels or like the voice of Satan 'it is out there, unseen but ready to swallow up the hapless child who can be turned towards its seductive allure, and that it actually works'. Cockrell (2004).
Needless to say Cockrell rises to defend fantasy literature by analysing Rowling's work, searching for truth. But there are many possibilites to this truth, 'if art may make the unreal real, it may also disguise the real as fiction, and teach witchcraft in the guise of fantasy .. the idea that there may be more than one truth is disturbing to those whose religious faith rests on an unchanging world, where facts stay still' Cockrell (2004).
The fact is, Rowling allows Harry Potter to exist in a world that we percieve as real, but how real is our world when the idea that some magical being could walk beside us? Fiction must conform to what one can view as real, and when it does not, fear of the strange arise. Taking into consideration that the fear of paganism runs strong in conservative homes, one can see how Harry Potter would raise alarms. To assume that the monsters and miracles of the bible are literally true would be to also allow the unseen world to exist, creating the sense of vulnerability to supernatural forces.
Cockrell understands how religious groups would condemn fantasy, but she also understands that Harry Potter does not exist for Satanic purpose. '.. this magic lacks a god or a devil at the heart of it .. At the heart instead lies mystery .. Harry frightens only those who want the answers to be the same everytime the question is asked.' Cockrell (2004). In Rowling's world, answers are not required to be the same. After all she does say to her reader from the start: Do not count on anything staying still. This may look like your world, but do not count on it being what you thought it was.
References
Burn, A. (2005). Potter Literacy - from book to game and back again; literature, film, game and cross-media literacy. Papers: Exploration into Children's Literature, Vol 14, No 3
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1.
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