Week Six: According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (ie comparing China and Japan)?

The culture that anime is associated with at the moment is a “popular” culture throughout Japan. However this may change due to the artistic form that anime has taken on especially in Japan (Lent, 2000). Anime in Japan has become an increasingly major icon in the global cultural economy and one scholar has gone as far as saying that Anime and Japans “chief cultural export”. Anime has extended to be recognised on an international level and Asian countries such as Taiwan and Korea have had an increase in the amount of people watching anime (Lent 2000). Due to the franchises that have been established through popular anime series, merchandise is now sold and creates more profit for anime series. This also creates brand image around the anime movie or series, this recognition has helped to launch the genres success internationally. Time magazine also published an article on Pokémon and anime in general in Time magazine, which added to international recognition and shows the increase of recognition that anime as a genre is gaining.

However animated films are far more popular in Japan than they are in western societies and in 1997 Princess Mononoke became the highest grossing film of all time in Japan, and still holds this title today (Lent 2000). Anime in Japan is know as being a mainstream pop culture and is accepted by the younger generation of Japanese viewers as a cultural staple. The anime culture targets not only children but also all age groups. For example Pokémon targets younger children while young adults can enjoy films such as Akira and Princess Mononoke.

Anime products are popular in countries such as Korea, Taiwan and South East Asia, in particular the animated series ‘Doraemon’ became popular in Thailand in the early 1990’s and became a franchise across Asia, which included video games, toys and life sized models. Although anime does appeal to different cultures on an international scale it is still the most popular in Japan. I find this interesting as I only ever enjoyed watching Pokémon when I was younger and wouldn’t choose to watch anime now that I am older. However in Japan many different age groups watch anime and anime is made for different target audiences. Pokemon and Doreamon were targeted towards younger viewers and Japan also offers films and programmes for young adults and older viewers. This is interesting as it is rare to find anime for young adults and older audiences in New Zealand.

Reference:

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 21 June, 2006, from AnimeResearch.com

Week 4: How is science fiction different from fantasy?

In Le Guin's article Plausibility Revisited; wha Hoppen and what didn't, it talks about plausibility and how it validates fiction by creating for itself an accurate and honest observation of the world outside of the book. Le Guin describes that the "correspondence of the real world and fictional world defines characteristic of realism, which it’s not a defining character of fiction". In stating this Le Guin suggests that plausibility and the intuition of reality gives readers a pretense of a factual report. In doing so the genre of science fiction branches out as part of realism. Science-fiction is able to pretend that the future is part of the present or past as it lies in the unknown so it is able to be a basis of the science fiction genre. 

This is much different compared to fantasy where its fictionality is far more direct than realism and science. This is because fantasy draws on a secondary creation without an agreement to pretend that the story happened or would happen. It takes readers into unknown territory where the world outside of the book is more imaginative and requires readers to be immersed in a fantasy journey, where the characters are fictional as well as the surroundings. For example in A wizard of Earthsea is a story that portrays the idea of magic in a village occupied by ordinary people. The theme of magic is constantly represented through Ged and his hunger to use the power of magic for both good and evil. He does so when he attends the ‘magic school’ on Roke where he exercises his magic in order to prove a point. In doing so he unleashes a shadow monster which becomes a danger to not only Ged’s life but to those he surrounds himself with. He constantly finds himself fighting against the shadow, a representation of the shadow within himself, that of guilt. Le Guin does this through magic to show that the realities of life are also able to be portrayed through fictional characters and settings and does not need to rely on the idea of realism to portray life lessons within the story. She allows readers to identify the allegory within the story of wizard of earthsea, and we in turn are able to see that fantasy can play a major role in interpreting the realities of life through a number of fictional characters and settings.

In contrast realism inserts invented characters into the real world surrounded by real people and real situations. I think that Le Guin is trying to draw comparisons in that science fiction is able to draw reflections to the world outside and is able to draw links between the readers and reality. On the other hand fantasy draws in readers into another world where they are not able to comprehend its surroundings nor is it able to give an idea of what might happen. This is because fantasy uses our most divine and human capacity, which is the imagination.

References

Le Guin, U. K. (2005). Plausibility revisited: Wha hoppen and what didn’t. Retrieved August 23, 2012, from http://www.ursulakleguin.com/PlausibilityRevisited.html

Le Guin, U. K. (2012). A wizard of Earthsea Retrieved August 24, 2012, from  http://www.shmoop.com/wizard-of-earthsea/summary.html

 

Shojo Archetype in Anime.

What is the ‘shojo’ and how does it often function in anime? 

The ‘Shojo,’ refers to a “little female,” and is a Japanese character archetype. These characters are usually pre-teen, but the age gap varies, and is generally agreed upon to be a girl who has not yet reached the age of 20, and thus maturity; school-aged females. It is common for these characters to appear pre-pubescent, regardless of age, innocent, flat-chested, and still a child in the body of a young woman (if the character is indeed a teenager). Shojo narratives are common in manga and anime, from my experience, and perhaps somewhat limited viewing, but almost every text of this genre I can think of contains a shojo character of some kind, whether it be a minor character or the main protagonist.

Functionally the shojo works to represent a coming of age and rites of passage; the transition from innocence to understanding and adulthood. San in Mononoke is a shojo character in her physical appearance, and stature, though she bares the fierce nature of a grown woman such as Lady Eboshi, and of the wolves who raised her. She represents a different kind of innocence, and nativity to the human civilization and it’s relationship with the forest, just as Lady Eboshi embodies the ignorance of man.




References:

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13).
London: McFarland & Company.

week 2- How does Farr (1991) justify Tintin's appeal to adults?

Tintin's appeal to adults in Farr's article of Tinti, an imaginary hero in a real world, is reflected by the different events that occur throughout the Tintin series. Farr justifies the appeal that Tintin has as being "self-generating", In that it is a continuous tradition from childhood to adult. The Tintin adventures deals with events of pastimes, which somewhat is reflected to the appeal for adults in that they are able to experience a pastime that they may have not had knowledge about or were limited to the information about that particular event, such as the Pearl harbour and the first landing on the moon. It provides a light-hearted appreciation for an event that was significant to a country either positively or negatively. Farr also describes the idea if loyalty, and this is seen through many of Tintin's adventures in which he stays loyal to his promises as well as to those that rely on him. In addition Tintin appeals to the adult audience as it draws a lot of "political satire" like the invasion of China by the Japanese, the smuggling as well as the issue of war. Farr (1991) article describe s that the tintin series brings about the realization that there is always something new to be learnt when it is read repeatedly. It gives the notion that once you read you will continue to re-develop ideas not only about the characters but with the issues that surround them and the problems that they face.

I hope I have answered it correctly feel free to leave your comments.

Week Six-

According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia?

Lent believes that the animation industry has placed a major role in the Asian media industry. The original influence of animation came from Western societies and was adapted into Asian countries. Asian anime was originally thought of in China. Early animation in Asia had a western influence, for example the smiling monkey was a replica of the American character Mickey Mouse. Even though there was a lot of influence from the U.S in the early days the Chinese wanted to add their own cultural influence. Wan Laiming (Chinese animator) said:

"In a Chinese film, one ought to have a story purely based on real Chinese traditions and stories, consistent with our sensibility and sense of humour..Also, our films must not only bring pleasure, but be educational.."

It becomes clear that very early on in the stage of animation China wanted to make sure they brought their own cultural influences and experiences towards animation. Most Chinese animation stressed morals (The Panda's Shop), promoted campaigns or exposed enimes for example the gang of four (One night in an art gallery) 1978.

Asian countries dominate the anime industry and in the late 1990s Asian animation studios entered co-production agreements with partners from America, Canada and Europe. The most famous and well known partnership was Walt Disney International, which allowed them the release of 'Princess Monouke'. This allowed Disney to bring anime into mainstream animation through out the world. However anime was not shown in all countries, it was banned in Korea and Taiwan for decades because of the fear of Japanese cultural imperialism.

The anime industry is still most dominate in China. The Chinese demonstrate a very conservative view and have full control and place restrictions on what is and isn't made. They believe anime should demonstrate morals and be educational. In comparison Japan has very little restrictions and has an open market. Both countries operate differently politically and economically, which includes different ideas on the way anime is made and the content that is shown.

Week 6: What is the shōjo, and how does is often function in anime?

Anime is a term used to describe Japanese-styled animation. From my own knowledge, it’s mainly a medium nowadays used to animate manga (Japanese comics); of course, it is still used to tell original stories not taken from manga. Anime contains different categories to cater to the various demographics of the Japanese market. A small portion of international audiences are also catered to, but only after first release in Japan. Speaking of demographics, shōjo anime is targeted towards young girls between the ages 12 and 20.

To explain shōjo, I’d have to explain the kanji (Japanese-adopted Chinese characters) behind the word that it uses. It uses the kanji for “little” and “woman”. Cavallaro (2006) states that shōjo is translated to “little female”; which describes girls aged 12 to 13 years old. Majority of shōjo anime use female protagonists/leads to appeal to the younger female audience. These female protagonists are given certain qualities that viewers can relate to, and are stuck in particular situations that play on viewers’ desires; “… the worlds depicted in [shōjo] stories are serenely dreamy and bathed in an atmosphere of magic and wonder …” (Cavallaro, 2006, p.11). From my experience, a particular trend that I have seen in most shōjo anime is that the protagonist is quite passive, with the love interest being the dominant character in the relationship.

I admit, I was pretty excited we were covering anime this week, as it is something that I have absolute interest in. This week’s primary text was a screening of Princess Mononoke, directed by the legendary Hayao Miyazaki. Although I wasn’t able to attend the screening, I did catch the movie during this past weekend. I watched the Japanese dub with English subtitles (due to certain technical difficulties in finding the English dub online). English dub or Japanese dub certainly makes no difference to me, apart from the pronunciation of names. Before I even watched the movie, I really thought the lead of the film was this ‘Princess Mononoke’; little did I know that it was actually a male lead called Ashitaka. Although the lead was a male, I felt that San (the female protagonist known as Princess Mononoke) played as much of an important role in the movie, too.

Lackner (2009) states that a typical shōjo heroine’s physical features and mannerisms are mostly exaggerated; from round-shaped eyes to ‘gender-appropriate’ gestures. San lacks that conventional Shōjo attitude and look. Miayazaki’s drawing style is quite subtle in my opinion. San’s physical features; such as legs, hips, and chest; are not over-exaggerated. Lackner (2009) reports that shōjo heroines are depicted as “strong, within certain boundaries, and exhibit physical traits drawn to denote attractiveness and beauty” (p.128). In that sense, most of the conventional shōjo characters I’ve come across are very beautiful and quite strong-willed, but not physically. What makes San different though is that she isn’t the passive type that I’ve witnessed in a range of Shōjo anime, and she is quite physically strong. Her potential love interest, Ashitaka, isn’t exactly the dominant type in their relationship/alliance. The cutest moment between the two is when San appears before a weakened Ashitaka and the first thing he says to her is "you're beautiful". San is taken aback by this compliment (so was I), and from that moment, we see her first non-threatening reaction/emotion with a fellow human. The second time would be when Ashitaka gives San his dagger. San's "shōjo" instincts pop up at those moments, but only lasts for a little while. Their relationship from that point on is just an alliance between humans and animals/spirits. By the end of the movie, San and Ashitaka both agree to live apart but remain in contact with eachother; San goes back to the forest, and the latter stays in Irontown to help rebuild it. This part of the movie breaks the cliché endings that shōjo anime usually have; the girl and the boy both live happily ever after.

The antagonist in the film is a female character named Eboshi. A role that is usually given to males, Eboshi is depicted as an evil character, but she still has that caring nature about her; she is still a woman after all. She is another female character who, like San, is very strong; not only that, but she runs a WHOLE town called Irontown. San and Eboshi are as strong-willed as each other. San’s goal in the movie is protect the forest from destruction, and the latter’s only goal is just to survive. Both characters have a strong resolve. They've shown the will to sacrifice themselves in order to fulfill their goals. In my opinion, Eboshi isn’t exactly the ‘evil’ villain that most viewers claim her to be. She's quite a complex character. How I perceived her character was that everything she had done up until the end of the movie was all for the sake of survival in troubled times during the war. She’s like a double-edged sword. She has this caring nature, but she can also be just as cold. In her town, she is seen as a hero; she saved the women from working in brothels and gave them jobs and authority over the men in town. To San, she is the ultimate enemy who could care less about the animals and the environment that she is damaging.

So in terms of shōjo depiction in this particular anime, the physical appearance is the closest thing that both San and Eboshi have; however, Eboshi is not the typical shōjo age that San comes under, so I’d categorise her under Josei (older female demographic, and what I'd call the 'realistic' version of shōjo). Their backgrounds/upbringings, physical strength, determination, roles, and what they represent are things that lead them astray from the conventional shōjo path. It’s what also makes ‘Princess Mononoke’ that much more special and different. Indeed, all the other Miyazaki films with female leads stray from mainstream shōjo; Cavallaro (2006) reports that Miyazaki's shōjo heroines were modelled off the qualities his mother possessed.



Reference:

Cavallaro, D. (2006). Early years. In The Anime Art of Hayao Miyazaki. (pp. 29-39). London: McFarland & Company.

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki. (pp. 5-13). London: McFarland & Company.

Lackner, E. L. (2009). Anime and manga. In Reid, R. A. (Ed.), Women in Science Fiction and Fantasy (pp. 123-134). Westport, Connecticut: Greenwood Press.

Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.

Week 4: How is Science Fiction different from Fantasy, according to Le Guin?

Science Fiction and Fantasy are two genres that are quite similar, but different. They both deal with fictitious characters and plots, but they approach these in different ways. 

LeGuin (2005) talks about the differences between ‘Fiction’ and ‘Realistic Fiction’; stating that the former “never happened” and the latter is under the pretence that it, in fact, did happen. According to LeGuin (2005), science fiction contains an essence of realism; it uses facts and past events as its context. In contrast to that statement, fantasy plays on the imagination, and does not exactly have any realism in it. Laetz and Johnston (2008) state that “… fantasy represents the very heights of imaginative expression” (p.163). I would say that (sometimes) the closest to realism; and as reported by LeGuin (2005); are the conventional personalities that the characters have. Other than that, the race of the characters is not entirely conventional at all. You may have a human, an animal, or something that is completely out of an ordinary race.

A frequent keyword that occurs in LeGuin’s article is “plausibility”. Leguin (2005) states that ‘plausibility’ confirms the true nature of the genre ‘Fiction’. We (the readers and/or viewers) are under the impression that it could be real, but are deceived by its fictitious content. Both Science Fiction and Fantasy contain plausibility, but are crafted differently. LeGuin (2005) goes on to mention that Science Fiction utilises plausibility to connect with its readers, while plausibility in Fantasy consists of the “coherence of the story [and] its consistent self-reference”. In relation to the “consistent self-reference” that LeGuin mentions, Laetz and Johnston (2008) state that “whatever features define a genre must be prominent in a work in order for it to belong to the relevant genre” (p.162). So, the consistency in mentioning particular terms or features related to the genre, keeps the plausibility within that genre. Now, I may be wrong in this, but it is my partial understanding of it.



Reference:

LeGuin, U. 2005. Plausibility revisited: Wha hoppen and what didn't. Retrieved August 18, 2012 from http://www.ursulakleguin.com/PlausibilityRevisited.html

Laetz, B. & Johnston, J. (2008). What is fantasy? Philosophy and Literature, 32(1), 161-172. doi: 10.1353/phl.0.0013