Savannah - (Science Fiction/The Man in the High Castle)

What does Brown (2001) identify as the central themes and concerns of the novel? 

Phillip K. Dick’s “The Man in the High Castle” shows an idea of what it would have been like if there were an alternate history of North America after WWII, if the Nazis won the war. According to Brown (2001), “The Man in the High Castle” is but an illusion that other worlds may exist. He describes a key theme as being the perception of reality and how it changes for the characters in the novel. We also see that two of the main characters were given the same I Ching at the end of the novel, that being inner truth. This gave them sense and hope that there could be an existence of greater living. However Brown (2001) states there is no clear resolutions in “The Man in the High Castle”. Dick liked to have a “what if” scenario to give a better twist to his stories including this novel. In this case his leading idea was “What if the Allies had lost the war?” and “How would this effect the ordinary person?”. This idea is what made the book so popular among fans. The novel has been made into a TV series this year (2015) and has already released a few episodes. While doing this novel I watched the first 2 episodes and found it well captured the ideas and aesthetics dick was portraying in the novel. The characters are exactly how he described in the novel as well as the setting and main themes and concerns. I Ching is something that also bases the whole story. This is because in this alternate North America, the Japanese brought in the use of I Ching, the ancient Chinese book of divination stated by Brown (2001). This created characters such as two main ones being, “Juliana” and “Tagomi” to seriously follow the I Ching, and it carved the way they thought and believed. Brown (2001) says that Juliana uses the I Ching as more of a direction rather than a spiritual motivation. Yet through her actions we are given a vision of the truth which is the crux of the novel. A main concern in the novel is between “Juliana” and “Joe”. This is how she discerns his true intentions according to Brown (2001). It causes confrontation between the characters as “Joe” is twisted in two lives, one being against the Nazis, and the other being one of them. “The Man in the High Castle” provides us with a view into another world, a reality we are given to compare with our own. Brown (2001) says it is perhaps Dick’s most greatest science fiction achievements.

References:

Dick, P.K. (2001; 1962). The Man in the High Castle. London: Penguin. 

Brown, E. (2001). Introduction. In Dick, P.K., The Man in the High Castle (p.v-xii). London: Penguin.

Spotnitz, F. (2015-). The Man in the High Castle (TV Series). Scott, R, Semel, D. USA, Amazon.com.

The Man in The High Castle/ Sci-Fi

Philip K. Dick’s novel Man in the High Castle is described by Brown(2001) as being ‘one of the best science fiction novels ever published’ (pg.) and part of that credibility, can be put down to Dick’s intricate inclusion of the ancient Chinese divination text I-Ching.

Mountfort(2006) notes that there are ten oracle consultations in the story dictating events and decisions of different characters. However the role of the I-Ching goes beyond textual in Dick’s novel.  As Mountfort writes, Dick credited the ancient text to have in one sense written Man in the High Castle, as he personally posed questions and referred to readings on behalf of his characters to determine the path the novel would take. It would appear to me, more difficult to blindly write a novel whilst relying on an oracle text for plot clues, though as Brown (2001) states Dick “claimed that he plotted as he wrote” (pg.6). Given his nature of writing, perhaps this could be why Dick was so successful in using the I-Ching like he did, and why many claim Man in the High Castle to be one of his greatest fiction works.

The more we begin to understand as readers, how big a part the I-Ching played in the writing of Man in the High Castle the more we understand how it is related to the dominant themes in Dick’s work. Brown(2001) highlights one of the more common themes in Dick’s work surrounding perceptions of reality, what is real and what is not, and parallel realities. If we consider this theme in relation to the use of the I-Ching in Man in the High Castle, an underlying relation between the two can be recognised.

The method used in writing the plot lines with the oracle text, also becomes a direct reflection of the novel within the novel, The Grasshopper Lies Heavy, where the character author Abendsen writes a novel using the I-Ching just the same as Dick has done in constructing Man in the High Castle. It also becomes apparent at the ending of the novel that The Grasshopper Lies Heavy is in fact, according to the oracle text, ‘inner truth’.

Raising his head, Hawthorne scrutinized her. He had now and almost savage expression. “It means, does it, that my book is true?”

“Yes” she Said.     –Man in the High Castle (pg.220)

This then implies that Abundsen’s novel is in fact a reality of some kind, one that we as readers can relate to as our own.

As a result the reader is left questioning a favoured theme of Dick’s, of what reality is and what it is not.

I find the themes and ideas in Dick’s novel to be advanced for their time, and rather radical. Originally published in 1962, the novel is a precursor to such more modern forms of literature which questions reality like Sliding Doors (1998), The Matrix (1999), and Inception (2010) making Dick more or less an underrated fore bearer of science fiction. 

Reference List

Brown, E. (2001). Introduction in Dick, P.K. The Man in the High Castle. (pg.5-12) London: Penguin. 

Dick, P.K. (1976; 1962) The Man in the High Castle. Great Britain: A. Wheaton & Co Exeter, 

Mountfort, P. (2006). Oracle-text/ Cybertext in Phillip K. Dick's The Man in The High Castle. Conference paper, Popular Culture Association/ American Culture Association annual joint conference, Atlanta, 2006. 

Man in the High Castle - Olivia Kinane

What was does Dick (1995) himself theorise about the I Ching? 

The IChing or also known as the book of changes is an oracle that aids with guidance and help of the person asking it a question. The IChing is an chinese oracle which has slowly been adopted by different cultures all over the world. Phillip K. Dick, a successful science fiction author, heavily used the IChing in his own personal life to help guide him in his writings. The IChing also makes a heavy appearance in his novel The Man in the High Castle (1962).  

Dick (1995) has some very strong feelings about the IChing, especially revolving who should be using it and how one should use it. According to Dick (1995) the people who use the IChing can be divided into those who use it to help guide them through their life and those who use it under the belief that it predicts their future. Within the book The Man in the High Castle (1962) the characters that use the IChing all have a different dependency on it, whether that being, total dependency, guidance or no dependency at all. For example the characters of Mr Tagomi and Frink, use the IChing when they have an important decision to make, they let the readings of the IChing help them make the next step, the IChing decides for them (Dick, 1962). Dick (1995) talks about how one can become too attached to the readings of the IChing. He discusses how the obsession with ‘predicting’ one's future ends with them not having a life at all as they are constantly predicting what will happen. He elaborates by saying that if you are not slightly insane or schizophrenic (Dick, 1995) you should not be using the oracle regularly, one should enjoy the leisure of asking questions that have no real direct impact on their life.

Dick makes it very clear that the IChing is not a future predicting device and that it is an answer to your questions. The IChing gives you an answer to the question that you asked, you can then take that response and apply it to your life or you can move on and ignore the IChings suggestion. Dick (1995) draws parallels between the IChing and the Doctors, when you seek help from them you can listen to what they diagnose or ignore what they diagnose. The idea that you need to be slighted insane to use the IChing is supported by his thoughts on the effect of the IChing. The IChing can fuel our fears and worries or dampen them (Dick, 1995). This is clearly shown within the novel of The Man in the Castle (1962).

Philip K. Dick used the oracle in his personal life to help guide him with decisions. The use of the IChing within the novel The Man in the High Castle helps to illustrate what Philip K. Dick thought of his use of the IChing and IChing in general.

Reference the article

Dick, P.K. (2001; 1962). The Man in the High Castle. 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.

Clarity I Ching. (2015). What is the I Ching. Retrieved from http://www.onlineclarity.co.uk/learn/begin/

Max Damerell: The Man In The High Castle (Science Fiction Novel) - What does Philip K Dick (1995), himself theorise about the I Ching?

“What distinguishes schizophrenic existence from that from that which the rest of us like to imagine we enjoy is the element of time. The schizophrenic is having it all now” (Dick, 1995).

            Philip K Dick was a compulsive storyteller (Mountfort, 2006) who believed that if a person used the I Ching long enough it would shape their thinking and personality (Mountfort, 2006). He experimented, using the I Ching to dictate the stories he wrote, and the movements of his characters, and has compared the process to the onset of schizophrenia or possibly the effects of LSD (Dick, 1995). He cites theoretical physicist Wolfgang Pauli who wrote about synchronicity, a concept where someone is “engulfed in an endless now” (Dick, 1995). Dick theorizes that the I Ching is a way of managing the synchronicity that some people get caught up in, whether by drug use or personality type.

            In “The Man in the High Castle”, Frank Fink represents us all. He is the Everyman consulting a copy of the I Ching. “He considered until he had his thoughts properly controlled and his questions worked out” (Dick, 1962). It is easy enough to imagine the author in a similar, agitated state, trying to decide what happens next in his story. His head is filled with possibilities and ideas but he places his faith in an ancient Chinese fortune-telling text. It was radical then and continues to be now, this idea that a leather tube containing forty-nine yarrow stalks can create hexagrams, which can be interpreted as predictions. Dick maintained that the I Ching mostly wrote High Castle, that is, the story was dictated by an oracle who had decided how those yarrow stalks would fall. He used it as an organizational device (Mountfort, 2006) asking the I Ching questions and accepted what he was handed (Dick, 1962). He compared the experience to taking LSD or having schizophrenia; he once described himself as a partial schizophrenic (Dick, 1962) and drugs appear very early in High Castle. Mr. R. Childan is described as seeking inspiration: “He lit up a marijuana cigarette, excellent Land-O-Smiles brand” (Dick, 1962). The I Ching appears to have been Dick’s drug of choice when he was writing. He believed that it provided clear directives “that will determine the future” (Dick, 1965). He saw the I Ching as an “analytical and diagnostic force” (Dick, 1965) and advised readers to “observe and enjoy what you see” (Dick, 1965). It was a non-schizophrenic experience he wrote, more like an LSD trip (Dick, 1965).

            Dick’s theory was: The I Ching works (Dick, 1965). As proof, he used it to plot High Castle. He was not schizophrenic but he believed in synchronicity and enjoyed recreational drugs. He wrote of Mr. Tagomi in High Castle: “in asking the question, had a deeper query in the back of his mind, one of which he was barely conscious” (Dick, 1962). Was Dick barely conscious of how his fiction would play out? He wanted to know and yet he was happy with a “partial knowledge of reality…sufficient to get us by” (Dick, 1995). He felt that knowing exactly how future events and writings would turn out would be to become a true schizophrenic (Dick, 1995) and that would be “a greater loss than gain; we would have induced our future into being consumed by the present” (Dick, 1995). Knowing what the future holds did away with any possibility of “free, effective action” (Dick, 1995) he theorized and he based his speculative fiction on not knowing what would happen until he had consulted the I Ching, “a device by which synchronicity can be handled”.

References:

·      Dick, P. K. (1962). The Man In The High Castle (2011 ed.). United States, NY: First Mariner Books.

·      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.

·      Mountfort, P. (2006). Oracle-text/Cybertext in Philip K Dick’s The Man in the High Castle. Conference paper, Popular Culture Association/ American Culture Association annual joint conference, Atlanta, 2006. 

Nistha Patel - The Man in the High Castle Science Fiction

What is the difference in emphasis between the terms science fiction and speculative fiction? Which is The Man in the High Castle? What does Brown (2001) identify as the central themes and concerns of the novel? 

Science fiction is a sub-genre of speculative fiction. According to Robert (2000), science fiction is a division of literature distinguishes its fictional worlds to one degree to another from the world in which we actually live. Whereas speculative fiction is more artistic than science fiction in terms of literary sophistication, appreciation of psychological depth and a heightened social awareness (Brown 2001). The Man in the High Castle is a novel by Philip K Dick that belongs to the sub-genre of science fiction known as alternate history. It looks into the past, imagining how subsequent history might have developed if the outcome of some key events or series of events had been different and poses questions such as “what if that never happened? What if the outcome had been different or the exact opposite? What if the cause if that was something else, or was this?” etc. Many science fiction is speculative as it works on the “what if?” factor, whether it is realistic (alternate outcome to a war) or seemingly unrealistic. 

This novel portrays in what Brown (2001) describes as being “an illusion, that other, better worlds might exist” (p. 10). This is a central theme is demonstrated not only through the main characters of Juliana and Tagomi but also with the book that is mentioned within the novel ‘The Grasshopper lies heavy’ by Hawthorn Abendsen. Brown (2001) identifies that The Man in the High Castle gives us the chance to consider an alternate world, “a reality we are invited to compare with our own” (p. xii). Dick may have done this in order for us as readers to comprehend that the story does not lie within the characters but with the world outside of the story. A dominant theme of Dick's works is of changing the reader's perception of reality. As Brown (2001) indicates, Juliana Frink in The Man in the High Castle, "makes a discovery that changes her perception of reality - always a dominant theme in Dick's work - as she learns how Grasshopper came to be written". Even in Scanner Darkly the main character Bob Arctor scrambles from one identity to another in his role as undercover cop and friend to a junky.

The Man in the High Castle can be seen as both science fiction and speculative fiction. It has an element of Science fiction as it is set in the future and is very different to ours. However, this can fit in speculative fiction as the plot of the story is based on the alternate history of what it would be like if the outcome of World War II was different. After viewing the movie Scanner Darkly and reading the book, my opinion is that it was Dick's intention to make the reader think about the world we live in and how we live it, our own reality and our own irreality. In essence he wanted us to turn what we find familiar upside down and inside out and rethink what we believe is true to us and our own world. I did wonder at the end of High Castle that maybe the whole book was actually about Juliana's irreality. That perhaps she had imagined the whole scenario that Japan and Germany had won the war, and that all the characters in the book were just figments of her psychotic imagination. I think her killing Joe is the reader's clue that she might have been mentally unstable. Maybe the conclusion of the book was her realisation (ie: when she meets the man in the High Castle) that she had actually imagined the whole thing.

References

Brown, E. (2001). Introduction. In P. K. Dick. The man in the high castle. London: Penguin.

Dick, P.K. (2001; 1962). The Man in the High Castle. London: Penguin.

Linklater, R. (Director). (2006). A Scanner Darkly. United States: Warner Independent Pictures.

What is the “Shojo” and how does it often function in anime?

What is the “Shojo” and how does it often function in anime?

The Japanese word “Shojo” (“Shoujo”/ “Shōjo”) literally means “little female” and this term is usually used to refer to girls approximately aged 12 or 13. On a metaphorical level, it also alludes to girls who are in their transitional stage between infancy and maturity. (Cavallaro, 2006). Whilst, Tamae Prindle stated that why Japanese think it is fascinating because the word “Shojo” act as a shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity. (Prindle, 1998).

What is anime? Japanese animation is a very well-known cultural and is widely appreciated. Anime can be simply defined as “Japanese cartoons” and anime may be the perfect medium to capture what is perhaps the overriding issue of our day, the shifting nature of identity in a constantly changing society. (Napier, 2005). The function of “Shojo” has changed over time and now became a subgenre in anime. Miyazaki depicts the female character (“Shojo”) differently from expected. He mentioned that he does not want his female characters leads to be as mere “play toys for Lolita complex guys” or “pets”. (Cavallaro, 2006 [cited from Miyazaki,1988a] ). Hence, Miyazaki used a different approach to present the image of “Shojo”, for instance: the character “San” in Princess Mononoke- an independent, wild and strong-willed female character. San was raised by wolves and then became a brave warrior to protect the forest. Miyazaki has made the character “San” in Princess Mononoke different from other female characters, San is more associated to a masculine character.

I personally think that Miyazaki’s Princess Mononoke is a great piece of work as it inspired me in terms of the character setting and to deliver awareness on gender inequality, appealing various range of audience to view and enjoy the anime.

References:

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan

Prindle, T. K. (1998). A Cocooned Identity: Japanese Girl Films: Nobuhiko Oobayashi’s Chizuko’s Younger Sister and Jun Ichikawa’s Tsugumi. Post Script, 18(1), 24-37.

Eleanor Nguyen - Anime/Princess Mononoke

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

Shojo (少女) means girl literally, as stated by Miyazaki (2006) and also Napier (2005); however it is often used as a term to label animes or mangas that are aimed at young girls. These animes and mangas are most likely to feature a plot that revolves around romance and relationships, though this does not necessarily mean they are without action. Although people often try to find distinguish common features in shojo mangas/animes just to categorize them easier, there is actually no concrete indication for this genre - at least content-wise - besides the fact that they are aimed at teenage girls. Since the genre targets a specific audience, there might be some similarities between pieces e.g. unusual large eyes, significant amount of romance, female protagonists, etc. However, the biggest indicator to whether a manga is shojo or not is to see whether it was published in a shojo magazines, and that’s it (Thorn, n.d.). A slightly different genre that can often be loosely grouped with shojo is josei - which is also aimed at girls; however, josei mangas are generally about/for adult women, and they can cover darker subjects than general shojo works.

Shojo mangas and animes can be described as being very dreamy and more often than not the female protagonists would be very average while the leading male character must be tall, handsome and cool (Thorn, n.d.). Miyazaki’s works are mostly shojo, as most of them feature female protagonists e.g. Kiki in Kiki’s Delivery Service, Sophie in Howl’s Moving Castle (yes, even though Howl’s name was in the title), or San in Princess Mononoke. Even Cavallaro (2006) stated that Miyazaki’s works are very true to the definition of shojo in terms of the protagonists’ age and general appearance. However, Miyazaki’s female protagonists are often portrayed as courageous, independent and have a strong sense of self i.e. how San acknowledged and embraced the fact that she was raised by wolf with a great sense of pride, and how she fought hard to protect her “home” - the forest.

References

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

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

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave/Macmillan

Thorn, M. (n.d.). What Shojo Manga Are and Are Not: A Quick Guide for the Confused. Retrived from http://www.matt-thorn.com/shoujo_manga/whatisandisnt.php

What place does animation occupy in Asian society? Princess Mononoke/Anime - Rowan Moss

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

Animation, or indeed Anime specifically, is regarded very differently from place to place even within cultural blocks such as Asia and the West. It is a medium that has been met with the skepticism that any budding phenomenon would, especially when it has such a remarkable effect on popular culture.

According to Lent (2000) animation in Asia was seen as childish and not to be taken seriously, mostly owing to its origins in Disney which was made for children. However, it contained some undeniably "adult" themes such as sex and violence, as can be seen in Princess Mononoke for example when Ashitaka effortlessly removes the heads of his foes, and received some backlash because of it. Again according to Lent (2000) Singapore is a good example of this backlash, where it wasn't until 1994 that Singaporean authorities allowed some animation with sex and violence to be shown, and even then only after midnight. At the same time, however, anime such as Princess Mononoke and Akira started to forge a way to popular culture for all anime to follow. They lead us to today, where anime is seen as important cultural capital in Japan especially. Admittedly, it is only the truly seminal works of Studio Ghibli and the like that break through generational lines, but, compared to the west at least, Anime is enjoyed by a wide variety of peoples. This is mostly due to a few important pieces creating respect for the medium in its entirety. 

Although Anime is very popular in Japan how does it fare in other Asian countries? Certainly it does seem that Anime holds a place of greater importance in popular culture in Asia than it does in western society, as I have learned first hand. Despite this fact Anime was not always seen in a positive light across Asia. In Korea, for example, Anime was banned for fear of Japanese cultural imperialism (Lent, 2000). Amid concerns of cultural dominance and corruption of innocence Anime has thrust itself into the minds and hearts of many Asian countries. It seems that this is due to the unique presentation of instantly recognizable and relatable themes, as seen in Princess Mononoke. Themes such as the dying environment (perhaps a big concern to Chinese viewers), love and loss, home and fighting for it all transcend cultural barriers, despite the very Japanese motifs; such as the samurai and general Japanese paraphernalia. In fact, these motifs only further the intriguing nature of Anime, appealing to our sense of curiosity rather than our fear of the unknown. This is true of nearly all Anime and is why it is so popular, even outside of Japan.         

In summary, Anime is a bizarre combination of the strange and the familiar, a quality which allows it to touch the imaginations of people from around the world, while still seeming somewhat alien and fascinating. Anime also takes on a special relationship with the rest of Asia, where it is post respected outside of Japan.

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

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

What is the ‘shojo’ and how does it function in Miyazaki's anime?

In its original sense the shōjo (“little girl”) meant an adolescent girl.

In the Japan of the 1920’s “rising affluence permitted” middle and upper-class families to send their daughters to boarding schools, resulting in an extended period of adolescence “creating the youthful and all-female subculture” (Naoto, H., cited in Treat,1993). 

However, from the ‘70s the word has acquired a more specific meaning: “rearticulated as a definitive feature of Japanese late-model, consumer capitalism.”(Treat, 1993, p.362). Shojo adventures entail exclusive private schools, luxury goods and high doses of cuteness.

Susan Napier, one of the leading experts on anime and Miyazaki’s works, in particular, defines the cultural phenomenon in the introduction of her article about “Miyazaki’s […] Cinema of De-assurance”: “Feminine, innocent, and cute […], the shojo serves as an appealing alternative identity in contrast to the image of the hardworking, highly pressured Japanese male.” (2001, p.473)

The shojo is usually presented in the shojo manga or shojo bungaku like Yoshimoto Banana’s “disposable” (consumable) novels as a non-productive group of girls and males increasingly like the shojo, “effectively signify[ing] sheer consumption” (Treat, 1993).

In Miyazaki’s works, however, the shojo assumes important functions in de-familiarizing the distinction between self and Other in order to de-stabilize the audience. Where Kiki, the heroine of Kiki’s Delivery Service (1989) is quite stereotypical shōjo kawaii despite her flying talents, others, -particularly San [Princess Mononoke] who “clearly possesses supernatural powers” - are more complex, violent creatures who take up normally male coded characteristics thus acting as destabilizers and underpinning Miyazaki’s message of de-assurance (Napier, 2005).

Miyazaki uses his shojos in protest of the post-war Japanese society’s top-down (emperor and samurai centered), strongly patriarchal concept of Japanese history to open up possibilities of “an alternative, heterogeneous and female-centered vision of Japanese identity in the future” (Napier, 2005, p.232) while remaining appealing to a wide range of audience and enjoying immense popularity despite the unsettling presentation of fundamental dilemmas of past present and future.

References

Napier, S. J. (2001). Confronting Master Narratives: History As Vision in Miyazaki Hayao's Cinema of De-assurance. positions: east asia cultures critique, 9(2), 467-493. doi:10.1215/10679847-9-2-467

Napier, S. J. (2005). Anime from Akira to Howl's moving castle: experiencing contemporary Japanese animation. New York, NY: Palgrave Macmillan.

Treat, J. W. (1993). Yoshimoto Banana Writes Home: Shojo Culture and the Nostalgic Subject. Journal of Japanese Studies, 19(2), 353-387.

Grace Dowden - Anime/Mononoke

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

Anime is a style of Japanese film and television animation, typically aimed at adults as well as children (Okuyama, 2015). The use of colorful graphics, vibrant characters and fantastical themes are what makes anime such an intriguing genre to watch (Okuyama, 2015). Early animation was effected due to the up rise of western work such as Disney. In Chine the smiling monkey was termed a copy of Mickey Mouse (Lent, 2000). However, the Chinese, perhaps more than any other Asian animators save those of Japan, were insistent on adapting only those elements of foreign animation that fit their culture, never favoring full adoption. Furthermore, Lent (2000) suggests that animation allowed morals and values to become a part of society through filming of cartoon characters such as ‘The Panda’s Shop’ which portrayed the values of wholehearted service to the people, the exposing of enemies of state as well as portrayed representations of wartime themes such as The Talking Blackbird (1972) which depicts a Vietnamese boy and his blackbird companion who defeat the Americans together (Lent, 2000).

In addition to the audience gains Lent (2000) also believes that the occupation of animation in Asian societies is one of the great economic significance. The existence of the animation genre has generated employment opportunities through the setup of foreign studios and the schemes that were provided such as work-for-hire and co-production scheme in order to bring in more foreign money into the economy (Lent, 2000). The common up rise in computer animation firms as well as animation training programs gave opportunities for people within the Asian communities to build up their animation skills in order to produce animation that may achieve success on the global scale (Lent, 2000).

In comparison Lent (2000) believes that Chinese films need to be purely based on real Chinese traditions and stories, consistent with our sensibility and sense of humor, which must not only bring pleasure but also be educational. In China animation belongs to a mass or popular culture whereby the cultural phenomenon is worthy of being taken seriously, both sociologically and aesthetically (Napier, 2005, p.4). An example of this is in Miyazaki’s Princess Mononoke is with the Lady Eboshi. Miyazaki portrays her as good an evil, in her actions towards providing opportunities for those living in Irontown. She is ruthless but she has genuine compassion for her own people. Miyazaki allows us to see that her intentions on killing deer god is only to provide those in her town many of who were “lepers and former prostitutes she recused form worst fates” (The Critical Eye, 1999). This can be reflected into reality also when we try to achieve goals that we have set for ourselves. We do everything possible in order to attain the outcome needed in order to succeed. Miyazaki draws in a lot of ideas and themes from the outside world, and in doing so he provides us with a chance to become part of the popular culture of anime. However anime in Chine as been seen as educational and provides pleasure to audiences. It draws on the importance of material that deals with national characters, morals, an originality of the culture and applying human traits to characters (Lent, 2000).

To conclude we can say that Japanese and Chinese anime draw vast differences in terms of its popular culture, it is seen in Japan as a ‘cultural phenomenon’ whereas in China it is used mostly for ‘political change.’

References:

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption of adaption. Retrieved August 30 from http://tlweb.latrobe.edu.au/humanities/screeningthepast/firstrelease/fr1100/jlfr11c.htm

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.

Okuyama, Y. (2015). Japanese mythology in film : Japanese mythology in film a semiotic approach to reading Japanese and anime. Lanham : Lexington Books.

The Critical Eye (1999). Princess mononoke: Nature is presented in both its glory and fury in Hayao Miyazaki's epic. Retrieved September 15, 2012, from http://purpleplanetmedia.com/eye/film/mononoke.php

What is a 'shojo'? Week 5 & 6

Anime is a term often used to refer to animated productions from Japan which also features computer based and hand drawn animation. Anime is primarily distributed in Japan but there are some that leave the Japanese shores which include those that were created by Miyazaki. Most famous of these include ‘Mononoke’ and ‘Spirited Away’ which both share similaraties such as the archetype character in anime known as ‘shojo’. A ‘shojo’ is a young female protaganist and is very popular in anime.

‘Shojo’ can easily be translated to ‘little female’ and is a term that is used to describe young females that are usually between the age of 12 and 13. Furthermore, the term ‘shojo’ is used to highlight the transitional period that the character is going through as well as the growing pains that comes with maturing from a girl to a woman. It creates magical stories and those that are in a stark contrast to anime that highlight darkness in sci-fi and wartime plots (Cavallaro, 2006).

In Miyazaki’s anime, the ‘shojo’ plays major roles and are given added characteristics. Classic ‘shojo’ characters have often been described as being passive and one who sits and waits for the story to unfold whereas Miyaki’s heroines portray courage, remain active throughout the story and dares to delve further in any adventure (Cavallaro, 2006). Furthermore, Miyazaki attempts to use other attributes to portray feminine features in his characters such as placing them in situations that invoke specific actions that a woman would do. This is highlighted in the anime Monoke, when the audience is first introduced to San who has a bloodstained face. On first glance, the audience is shown that she is a strong character but also the nurturing aspect of her character by helping the God Wolf and sucking out the bad blood in it’s system (Miyazaki, 2006).

When an anime has a strong ‘shojo’ character presence it becomes known as a ‘shojo anime’ and is largely intended for young females. However, the audience for this type of anime is heavily consumed by male adults (Cavallaro, 2006).

Reference

Cavallaro, D. (2006). The animé art of Hayao Miyazaki (p. 11). Jefferson, N.C.: McFarland & Co.

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

Anime Genre: Princess Mononoke

Anime: Content, Context and viewer effect. 

According to Dictionary.com, Anime is a Japanese style of motion- picture animation, characterised by the highly stylised, colourful art, futuristic settings, violence and sexuality. 
This is just one way to define the genre. There are many technical and theoretical elements that encompass Anime, that are also shared within other genres and sub genres.
The 'culture' to which anime belongs is at present a 'popular' or 'mass' culture in Japan, and in America it exists as a 'sub' culture (Napier 2005).
The features of popular genres can be applied to the features of anime. Similarities within other popular genres are apparent and construct the Anime genre, offering intertextuality and likeness to other genres.

-Popular Genres often use formulaic plot structures, with predictable or recurrent resolutions of the story's 'complication'
-Many popular genres exist in imaginary worlds and therefore do no obey the conventions of realism. (Lecture 1 powerpoint, 2015)

These quintessential features appear in the 1997 Japanese fantasy film Princess Mononoke directed by Hayao Miyzaki. The film appealed to a mass audience and was so well received it became the number one film in Japanese box-office history according to Napier (2005).

The storyline follows a young warriors journey to rid himself of a deadly curse that was placed upon him when defending his village from an evil demon. The main complication the protagonist faced is the impending death from the demon curse and this is revealed in the very beginning of the film.
By introducing a complication so early on, this follows the formulaic plot structure shared within popular genres. It is important to note that the initial complication only effects the main protagonist personally. While on his journey, Ashitaka learns more about the world he lives in and the interactions between man and gods, demons and spiritual beings of the forest.
Further complications arise because of this new found knowledge and are more worldly, that will have a larger impact, all of man kind rather than just himself. The earthly, elementary issues emphasise importance of the character and his journey, and can now be seen as heroic and brave.

Anime texts entertain audiences around the world on the most basic level, but, equally importantly, they also move and provoke viewers on other levels as well, stimulating audiences to work through certain contemporary issues in ways that older art forms cannot. (Napier 2005) The complications the protagonist faced include the tumultuous relationship between mankind and nature, the existence and interactions with man kind and spirits/gods and lastly the effect of war, violence and selfishness. The problems in this anime world can be related to the viewers reality. By artistically approaching issues relevant to the viewer, this may create a more compelling, interesting and resonating story that may provoke further thought after watching.


Animation Director Hayao Miyazaki established himself as a masterful creator of both enchanting fantasies and thought provoking scenarios, According to Cavallaro (2006). In Princess Mononoke, Miyazaki has created an imaginary world that personifies demons, gods and spirits that are fluid in form.
The psychology of colour can be applied to the visual component of the film and is based on the mental and emotional effects colours have on sighted people in all facets of life. (Colour Psychology )

The first demon Ashitaka faces appears as a hovering dark cloud shaped form that morphed into a hog once defeated.
Ashitaka is dressed in blue which could promote calmness, loyalty and wisdom. The demon is black with unpleasant, messy detailing could symbolise evil, strength, energy and death. The red beady eyes of the demon could suggest intensity, power and blood. In contrast to the aesthetically pleasing landscape a calm green countryside this juxtaposes the demon as a threat. In relation to characterisation, the demons are now the villains and Ashitaka, the defender of his people will eventually rise to heroic status.

Not only does the medium show influences from such Japanese traditional arts as Kabuki and the woodblock print, but it also makes use of the worldwide artistic traditions of twentieth-century cinema and photography. The issues it explores, often in surprisingly complex ways, are ones familiar to readers of contemporary 'high culture' literature and viewers of contemporary art cinema. (Napier 2005)

To compare the cultural aspect of Princess Mononoke, the Japanese anime film could be compared to FernGully. FernGully: The Last Rainforest (1992) was directed by Australian-American Bill Kroyer. This animated fantasy film follows the journey of Crysta a fairy, who lives in an Australian Rainforest that is being destroyed by humans. The presence of spirits, fairies and helpful talking animals friends are encompassed in an imaginative, enchanted setting while still being relatable to the viewers real life. The environmental and social issues create an intertextual link between both storylines, with the only real obvious difference is culture.

FernGully: The Last Rainforest Trailer.

When I first watched FernGully as a young child, it's themes resonated with me before I could fully understand it. The appeal to me was based on the imaginative fairies and spiritual beings, the familiar environment of the setting and recognisable voices of the characters. As the film was set in Australia, being a New Zealander I could grasp and relate to the concepts, even as a child because the context was relevant. Although environmental issues effect the whole world, it's with a little familiarity, in context or characterisation that can appeal to viewers and have a resonating effect.




-Napier, S (2005) Anime: from Akira to Howl's Moving Castle.-Cavallaro, D (2006) Introduction. In the Anime Art of Hayao Miyazaki.
-Anime: Dictionary.com (2015) Retrieved from: http://dictionary.reference.com/browse/anime
-Art Therapy (2015) Retrieved from: http://www.arttherapyblog.com/online/color-psychology-psychologica-effects-of-colors/#.Vhi48BOqqko

Princess Mononoke: Anime-
Is it a high or low cultural genre, according to Napier (2005)? What are some of its subgenres?

An easy definition of anime are cartoons or a style of animated prouctions. It is regonize that Japan is well known for the producing and the creation of most of the popular animated films, however it often brings out questions whether or not it is a high cultural or low cultural genre. This essay will discuss what cultural genre anime belongs to as well as some of its subgenres.

Anime can be of both high and low cultural genre but it depends on the perception of a given culture. for example, in western cultures their perspective of animie is that it is so much the same as cartoons, therefore it is errelevent only for children. For according to Napier {2005) Anime is normally cast aside by mainstream because it is believed to be made of children or youth, and therefore lacks genuine substance. On the other hand in japan it is seen as a significan and highly praise production {Napier, 2005). Anime is seen differently by people individualy, the older and the younger generation have different views and opinion of this. Anime is looked down by a majority of the older generation as they view this {anime) as childish {Napier, 2005). Which is a complete opposite to the younger generation, they enjoy and are so much in to anime.  

In my opinion,there is actually no specific answer to this question, Its a bit of fifty/fifty, because people have different certain opinions and views to what they see. Some people, such as the older generation still view anime as inappropriate and a waste of time while others view it as its fun. However,anime will eventually become apart of the high cultural art community as people's understanding of it {anime) will begin to grow even much more bigger than now.

Reference:
Napier, S. (2005). Why anime? In Anime: From to Howl’s Moving Castle (pp. 3-14).             Hampshire: Palgrave/Macmillian