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.
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
No comments:
Post a Comment