Sunday, 6 September 2015
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
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.
‘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
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
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
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
Saturday, 5 September 2015
Dulcie Barker - Anime/ Mononoke
What place does animation occupy in Asian societies?
Animation in Asia, plays a different role to the typical roles that animation generally assumes in western cultures. Napier (2005) notes that animation in western societies is largely associated with children's entertainment, compared to the many varieties which exist in Asian societies. Time magazine mentioned that by the year 1999 at least half of Japanese studio productions were released in animated form (Napier, 2005). Napier uses Miyazaki Hayao's film Princess Mononoke, first released in 1997 as an example of an intellectually sophisticated piece of Japanese animation. Where the content, story-line and visuals are all enjoyable as pure entertainment, the themes embedded in the film inspired a 'plethora of scholarly articles' (pg.18). The most obvious and not so underlying theme which I found present in Princess Mononoke, surrounded environmental concern. This is not particularly a theme which is selective to Japanese culture, environmental awareness is a universal theme common in production all around the world. What Napier does is link Japans unique history with such themes and reminds us that in Japanese societies, these anime productions may read a lot deeper and mean a lot more than initially meets the eye. "Japan is still the only country on earth to have suffered atomic bombing, an experience that continues to affect the society today and that has created for many a collective sense of victimhoood" (pg.28). Japans history as Napier suggests, is directly related to the themes present in its more intellectual anime, such as Princess Mononoke. The film depicts the wage between the spiritual, cultural and natural worlds, which when paired with reoccurring apocalyptic scenarios makes up what Napier describes as the pervasive darkness of many anime. It is this subtle dark undertone, I think, which sets anime aside from other universal forms of animation. Anime serves as much more than mere cartoon entertainment in Asian societies. Miyazaki has admitted that the darker elements in Princess Mononoke are aimed just as equally at children as they are at adults (Cavallaro, 2006). Miyazaki as quoted in Cavallaro (2006) after Lyman (1999) says "I wanted to be honest with the young audience, to tell them that human society is not fundamentally blessed". It is evident, in Miyazaki's works, that anime's role in Japanese society digs far deeper than an average animation. Anime is a part of Japanese culture as it draws off the history and tradition of the land and its people to establish its own distinct genre of film.
References.
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki, London: McFarland &Company
Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.
Napier, S. (2005). Anime: from Akira to Howl's Moving Castle. Hampshire: Palgrave/ Macmillan.
Animation in Asia, plays a different role to the typical roles that animation generally assumes in western cultures. Napier (2005) notes that animation in western societies is largely associated with children's entertainment, compared to the many varieties which exist in Asian societies. Time magazine mentioned that by the year 1999 at least half of Japanese studio productions were released in animated form (Napier, 2005). Napier uses Miyazaki Hayao's film Princess Mononoke, first released in 1997 as an example of an intellectually sophisticated piece of Japanese animation. Where the content, story-line and visuals are all enjoyable as pure entertainment, the themes embedded in the film inspired a 'plethora of scholarly articles' (pg.18). The most obvious and not so underlying theme which I found present in Princess Mononoke, surrounded environmental concern. This is not particularly a theme which is selective to Japanese culture, environmental awareness is a universal theme common in production all around the world. What Napier does is link Japans unique history with such themes and reminds us that in Japanese societies, these anime productions may read a lot deeper and mean a lot more than initially meets the eye. "Japan is still the only country on earth to have suffered atomic bombing, an experience that continues to affect the society today and that has created for many a collective sense of victimhoood" (pg.28). Japans history as Napier suggests, is directly related to the themes present in its more intellectual anime, such as Princess Mononoke. The film depicts the wage between the spiritual, cultural and natural worlds, which when paired with reoccurring apocalyptic scenarios makes up what Napier describes as the pervasive darkness of many anime. It is this subtle dark undertone, I think, which sets anime aside from other universal forms of animation. Anime serves as much more than mere cartoon entertainment in Asian societies. Miyazaki has admitted that the darker elements in Princess Mononoke are aimed just as equally at children as they are at adults (Cavallaro, 2006). Miyazaki as quoted in Cavallaro (2006) after Lyman (1999) says "I wanted to be honest with the young audience, to tell them that human society is not fundamentally blessed". It is evident, in Miyazaki's works, that anime's role in Japanese society digs far deeper than an average animation. Anime is a part of Japanese culture as it draws off the history and tradition of the land and its people to establish its own distinct genre of film.
References.
Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki, London: McFarland &Company
Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.
Napier, S. (2005). Anime: from Akira to Howl's Moving Castle. Hampshire: Palgrave/ Macmillan.
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