Week 6: What is the ‘shojo’ and how does it often function in anime?

The ‘shojo’ according to Cavallaro (2006) is a term that literally means “little female” and “is used to designate girls aged 12 or 13” (p. 11). This type of character is common among anime and appeals largely to Japanese males because they offer a dramatic shift and excitement which is not available to them in their demanding work life.

 

Its function in anime is one that depicts the transitional age between childhood and adulthood, youth and maturity, sexlessness and eroticism, powerlessness and power, inexperience and understanding, masculinity and femininity. The ‘shojo’ stories are usually light-hearted and “bathed in an atmosphere of magic and wonder” (p.11). This is a stark contrast to the protagonists of Miyazaki who fit the shojo bill in terms of their physical appearance but are more self-sufficient, brave, curious and proactive (for example San in Mononoke).

 

Refernces:

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

Week 6: Anime and Manga, the Japanese Way

On completion of the viewing of Princess Mononoke, by Miyazaki, my initial impression on this animated movie were that it was fantasy bordering on the ridiculous, incredulous and quite frankly boring.  My apologies.  I just wasn't getting that out of this world feeling.  I felt the scenes were disjointed, I kept losing the thread and nothing seemed to flow.  The storyline seemed muddy, and it seemed to zig zag  from one event to another with no storyline curve as I know it.  I found it hard to connect with the characters.  The way they were drawn or designed just didn't hit a note with me.  The wolf characters seemed indistinguishable from one another, the depiction of the Deer God I felt was not convincing enough for the importance of the spiritual role he played, and Yakul seemed to have a lead role at the start of the movie as Ashitaka's firm friend, but turns out to be a convenient form of transport to get Ashitaka around the forest.  It just wasn't complying with my knowledge of consistency (Attebery, 1980) and didn't match the framework of a storyline as I know it, nor my knowledge of how a storyline should sit in Vogler's three Act structure.

"Japanese comics (manga) and their spin-offs in the domain of Japanese animation (anime) do not abide by the criteria of the typically Western narrative structure with its three-act format leading from the delineation of characters and situations through a series of conflicts and complications to a denouement." (Cavallaro, 2006).

Upon reading the material associated with the field of manga and anime, I can see the movie in a new light and realize that my naivety and expectation of the story of Mononoke over-rode my knowledge of the topic of anime.   The concept of anime can be classed as almost unique to Japan, although that could be disputed by Lent (2000) who quotes pioneer animators such as "James Wang of Taiwan, Payut Ngaokrachang of Thailand, Tezuka of Japan and Shin Don Hun of Korea" as being the Disney creators of their respective countries.

The role of the genre of anime is to be taken seriously.  In Miyazaki's instance, there is not only an intention to entertain his audience with the storyline of the animated movie, but also to send an overriding eco-message to his audience.   "Miyazaki's movies do not indulge in mere nostalgia for they frankly intimate that nature's forceful independence is unlikely ever to be restored" and there is a distinct hope attached to them for humans to "achieve non-aggressive cohabitation and even cordial cooperation with the natural environment." (Cavallaro, 2006).

Cavallaro (2006) cites that "manga tend to unfold over several years and therefore experience often substantial reorientations.  Animated series and features based upon them target audiences intimately acquainted with their narrative content."  This helps to explain my confusion as, as a Western viewer, the concept of a storyline that doesn't really wind up with a nice neat bow (denouement) is completely foreign to me.





References:

Attebury, B. (1980). Locating fantasy. In the fantasy tradition in American literature: from Irving to Le Guinn.  (pp. 2-9). Bloomington: Indiana U P.

Cavallero, D. (2006). Introduction. The anime art of Hayao Miyazaki (pp. 5-13). London: McFarland & Company

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

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.