week6, Anime

There is no doubt that Animation is one of the most popular genre through the world, especially Japaneses animation is in the core of its popularity. Only by looking at this circumstance, it could easily make to think that perhaps Animation originally starts from Japan or some other Asian countries. At least I do think like that. Lent (2000), however, well summarised the original influences of Asian Animation through the following vignette:

 In 1923, the four Wan brothers, credited with starting animation in China, sat in a Shanghai
theatre enraptured by three American cartoons shown that day. Forsaking any luxuries and most necessities, the Wans for the next three or four years devoted nearly all their time and money to learn animation, strictly by experimentation and imitation. eir first work, and China’s first animation, Uproar In An Art Studio (1926) was much influenced by the American style, using the concept of the Out Of e Inkwell series by the Fleischer brothers. In the Wans’ version, a painted figure on an artist’s canvas comes to life and commences to play with the brushes and paints when the painter leaves the room. Admitted admirer of the cartoons of Dave and Max Fleischer, as well as the characters Mickey Mouse and Felix the Cat , the Wans al so were inf luenced by Chinese shadow puppet theatre and Beijing Opera, the latter subsequently inspiring Wan Laiming’s Havoc In Heaven (1961).

It wouldn't be wrong to say that many legendary artists were fascinated and influenced by Disney Animation. It doesn't mean, however, Asian countries were just copying the western style of Animation. Lent (2000) also pointed out that the important point, however, we need to look at is "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 favouring full adoption." (para 10)

As we have already seen "Princess Mononoke" which is wellknown Animation directed by Hayao Miyazaki in the class, it tried to draw the harmony between humankind and nature. Not just producing attractive scenarios of Animation, but also trying to put some strong message in the Animation which means they developed their own style of Animation regarding of cultural aspects. Cavallaro (2006) described the themes of "Princess Mononoke" that is "the fate of ecosystem, the ever-present phantom of war, the evils of totalitarianism and the vicissitudes of self-developmemt." (p 7). 

References
 
Cavallaro, D. (2006). Introduction. In 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 September 4^, 2012, from http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1100/jlfr11c.htm

Napier, S. J. (2005). Anime: from Akira to howl’s moving castle: Experiencing contemporary Japanese animation (pp.3-14). Hampshire: Palgrave/Macmillan.

 

Princess Mononoke

An anime has become more a subject for academic and considered as 'high culture'. The film 'Princess Mononoke' is very useful especially on subjects like feminist, sexuality thoughts and men's attitudes towards ecology (nature). Napier (2005) stated that "Princess Mononoke' problematizes archetypes and icons, ranging from the notion of the emperor's untouchability to the traditional iconization of the feminine." For example, both characters Lady Eboshi and San (wolf girl) familiarize the feminine.

I think Miyazaki is trying to say that there isn't really a 'bad guy'. There are conflicts between human and nature in which human must destroy nature for their living whereas animals (nature gods) must eliminate human in order to survive.
This film shows that nobody is truly good or bad person. Both nature and human are trying to eliminate each other for their livings. There certainly is a overarching of pure good and pure evil like Forest Spirit, and hatred (curse that was infected the boar named Nago, and on the Ashitaka's arm.)




Reference


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

Week 6 * Princess Mononoke

Hayao Miyazaki is one of the famous directors in Japan and has created many popular animations. Miyazaki began his animation career in 1961 and worked in various roles in the animation industry and was able to direct his first film Lupin III: The castle of Cagliostro. When we see Miyazaki’s animation, we see many collages of images and the exploration of the setting. According to Cavallaro (2006), there are graphic styles immortalized by Japanese art from the Middle Ages to the end of the nineteenth century.

We see Miyazaki’s magnificent ideas through his animation; the settings are presented by Western styles imagery (Cavallaro, 2006). For example, the action of Lupin III: The Castle of Cagliostro (1970) is pictured in a peaceful European duchy and Howl’s Moving Castle (2004), has the European background of tall buildings and European looking architectural components. In Mononoke, the setting is on the forest and the human world where it shows the relationship between the nature and the human world. Miyazaki’s films bring diverse time scales by showing the concern with the eco system.  As a fan of Miyazaki’s animations, I love the different characters that are important in the film. For example, Princess Mononoke has characters living in the forest and also the human world; it shows their relationship and how they are enemies.  The features like ‘deer God’ shows their meaning of life and how they respect honour their God, and from the human world, all they want is power and wants to destroy the forest as fast as they can. According to Cavallaro (2006), shoujo means ‘little female’ and is used to designate girls aged 12, 13. It is age frame where infancy and maturity takes place. Shoujo stories are focused in an atmosphere of wonder and magic between their adulthood and childhood. The character shows their power and powerlessness also awareness and innocence. Comparing with Western cultures, shoujo stories are much more popular with Japanese males whereas in Western societies the teenage girls life can be drawn different from the Japanese culture. According to Reid (2009), in the late 1960s and early 1970s many of female mangaka began to be rise rapidly in the public eye. I believe that many Asian females and males are interested in cute styles of characters and shoujo market has been popular for many years. It is likely to be the first steps of having interests in boys and girls in their teenage years and also manga shows the process of this.

References

Cavallaro, (D). (2006). The anime art of Hayao Miyazaki. Lomdon: McFarland & Company.

Napier, S. (2005). Anime: from Akira to Howl’s moving castle. Hampshire: Palgrave/ Macmillan.

Reid, R.A. (2009). Women in science fiction and fantasy. Westport, USA: Greenwood Press.

Anime high or low culture

There is a question whether or not anime is high or low culture because of its popularity and simplicity to the public. Anime is such a broad genre of cartoons that a child could watch it. Despite this, there is plenty depth behind the stories.

However with such anime phenomenons like pokemon, it is regulated and refreshed. With over 700 episodes and 15 seasons the show has become somewhat propoganda. Originally made for the japanese market, it was picked up by the americans and became a huge success. The Show became so big it is now a part of their culture. As big as the show has become, there is also use of subtle hits at how american society works.

Anime can focus on the idea that americans consume so much and throw away they are destroying the earth. Its the anti patriarch with the use of a hero. I would say the use of anime can be either high or low culture depending on the show. It is dependent on how each individual sees a show and the subtext the producers have put in.

However the text may not only decide whether the genre is high or low culture. it can also be argued that the audiences may notice more in one location as opposed to another. for example in Japan, Japanese may see anime as another form of entertainment, just another story to follow or tv drama they can watch. Whereas Americans may invest a lot of money into the shows by importing they want to read more into it. Japanese culture maybe foreign to them that they see more subtext.

Anime may argue with the norms of how people in their enviroment work and live their lives. Despite the shows being taken and Translated Aka "Dubbing"there is still a market for people to buy shows in their original forms only understanding the show with the use of subtitles.

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

'Shōjo' is generally derived from the term 'Bishōjo' びしょうじょ  which literally means 'beautiful girl', and is generally used to describe a style of anime and/or manga that holds a female protagonist or is focussed around female characters, usually under the age of 18.  The male counterpart to this is known as "Bishōnen/美少年" which literally means "Beautiful/handsome boy"

An example of a more popular 'Shōjo' anime would be Sailor Moon (the full title is 'Pretty Soldier Sailor Moon/Bishōjo Senshi Sērā Mūn) which is focussed around a group of 14 year old girls who are originally from a fictional location known as the 'Moon Kingdom' and are sent to live on the earth after their home kingdom is attacked by a malevolent force known as the 'Negaverse' or 'Dark Kingdom', who is also transported to earth, upon which their battle resumes.

Sailor Moon, a popular shōjo series

Shōjo animes and mangas can carry many different themes but as they are usually designed with young-to-teen girls in mind, battles and violence are usually kept to relatively low levels, a series like Sailor Moon being an exception to the norm.

Other examples of shōjo anime and manga include titles such as Cardcaptor Sakura, Revolutionary Girl Utena, Magic Knights Rayearth and Fruits Basket just to name a few.  Some titles are mistakenly assumed to be shōjo titles as well, when in fact they were originally designed as 'harem' mangas designed to appeal to male audiences, examples of this include titles like Love Hina and the seinen anime/manga Ah! My Goddess/Ah! Megami-Sama.  This is largely due to romance and similar themes being a common element of Shōjo animes and mangas, sometimes causing other similar titles that have those aspects to be miscatergorised.

Cardcaptor Sakura, another popular series designed towards younger girls

Love Hina, which is infact NOT a  Shōjo series but rather a harem series catering to young males.

Shōjo is not really a "genre" as such (despite the fact that certain animes and mangas that carry certain similarities being put under the "shōjo" umbrella) but is rather more a character design, usually focussed on making the character/s as visually appealing as possible, though has also caused the genre to receive some negative backlash, with some claiming that some titles use visual appeal to make up for a lackluster storyline or forgettable characters.

Weeks 3-4; Fantasy, 'Earth Sea'

How does  Attebery (1980) define Fantasy? Find at least five definitions.

 

Attebery proposes the question; what is fantasy? He says there are numerous ways to define the genre, however, most importantly, we have to decide what the essential characteristics are, the defining ones. (Attebery, 1980). Throughout this post, I will mention the definitions I found whilst reading Attebery's work, the ones I agree with and think define fantasy exceptionally well.

W.R Irwin, (as cited in Attebury, 1980), states that

"whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric" (p.9). 

I completely agree with this definition, especially the 'development of an impossibility'. Fantasy is all about making the unreal, seem real and come alive, to the reader/viewer.

Attebery goes on to say that a narrative is a part of the fantasy genre, when a significant part or all of it involves some sort of violation of what it's author believes to be 'natural law'.

Furthermore, he states that there are many ways a story can prove itself to be apart of the fantasy catagory. It can involve mystical creatures, such as flying horses, dragons, or shape shifters. Or it can revolve around magical, brought to life objects that would usually be inanimate, like talking hats, or moving picture frames..take Harry Potter for example. It could also 'proceed through events', Attebery gives the example of a tree reaching out to grab a person, to me, I think of the Wizard of Oz. 

Attebery believes that fantasy distinguishes between itself and other similar genres, by the way it demands a 'straightforward treatment' of characters, objects, or events, we would generally consider impossible.

Fantasy makes these impossibilities happen "without hesitation, without doubt", says Attebery (1980). It makes us believe that such things could under any circumstances, come true.

Reference

Attebery, B. (1980). The Fantasy of Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press.

 

Definitions of Fantasy

How does Atterbery (1980) define Fantasy? Find at least five definitions. 

When I was reading the article I found five definitions of fantasy. These are the five definitions I found.

Definition 1: The single condition, that a story treat an impossibility as if it were true (Attebery, 1980)

 Definition 2: an overt violation of what is generally accepted as possibility... Whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility, an arbitrary construct of the mind with all under the control of logic and rhetoric. (Irwin as cited by Attebery, 1980)

Definition 3: founded upon the hard recognition that things are so in the world as it appears under the sun; on recognition of fact but not slavery to it. (Tolkien as cited by Attebery, 1980)

Definition 4: Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law. (Attebery, 1980)

Definition 5: The fantastic... That hesitation experienced by a person who knows the laws of nature, confronting an apparently supernatural event” (Todorov as cited by Attebery, 1980)

I think from reading them that Atterberys own definition are either the

The single condition, that a story treat an impossibility as if it were true (Attebery, 1980)

Or

Any narrative which includes as a significant part of its make-up some violation of what the author clearly believes to be natural law. (Attebery, 1980)

References

Attebery, B. (1980). The Fantasy of Tradition in American Literature: From Irving to Le Guin. Bloomington: Indiana University Press.

Some interesting posts here, but not much feedback, not much in way of discussion threads...keep on blogging, guys.

What are some archetypes (e.g. common character types)of fantasy fiction?

A number of more common archetypes exist these days in fantasy and Science fiction/fantasy stories.  These include but are not limited to...

The hero/heroine: All storys have one or more of these, this is your main focus of the story, the character who is intended for the reader/audience to identify with, to support through their journey.  This character will traditionally face many trials and hardships, not always coming out successfully, but the story woven in such a way that they will ultimately come out stronger from the ordeal.  Examples can include characters like Frodo from Lord of the Rings, Harry Potter, Tintin, Luke Skywalker, King Arthur and many more.

The antagonist:  This is the main opponent that the hero/heroine is destined to face (and possibly defeat) in the final climax of the story, this character can vary quite dramatically though, they can be dark and brooding,  a skilled trickster that may make the hero think of them as a friend just for them to end up double-crossing the hero, or something as simple as an insane genius who wants nothing more than to destroy the world.  Examples of this archetype are Darth Vader, Voldemort, and Sauron

The guide/scholar:  This is your traditional mentor that provides info of essential use to the protagonist in early stages of the story, but more often than not dies during one of the climaxes during Act 2 of a story.  Examples include Gandalf in Lord of the Rings: Fellowship of the Ring, Obi-wan from Star Wars Episode IV and Dumbledore from the Harry Potter series of books, just to name a few

The maiden: This female archetype is typically one of beauty, innocence and purity, often playing the part of a love interest to the protagonist (when the role is held by a male character), and often 'exists' for the purpose of being rescued by the hero, though this has changed substantially in recent years.  Examples include Princess Leia from Star Wars and Arwen from Lord of the Rings.

The Mercenary: This character is often out to line their own pockets, sometimes accompanying the protagionists party as a means to an end, or possibly due to guilt or other obligations that have forced them into the situation. 

The "not-too-bright" swordsman: This is your typical bumbling warrior, extremely skilled in the ways of the sword, but not the brightest bulb when it comes to matters that require a more-than-average amount of thinking

The sorcerer: This is your weaver of everything mystic and arcane, able to conjure spells and incantations from something as simple as a ball of light no brighter than a light bulb, to a spell of mass destruction that could easily rival a nuclear warhead.  Sorcerer archetypes are usually (but not always) portrayed to be eccentric bookworms, often living in large towers and being rather reclusive, but not entirely unfriendly.

Archetypes

What are some archetypes (e.g. common character types) of fantasy fiction?

I am not really a fan of fantasy fictions but I really enjoyed reading Harry Potter series and Lord of the Rings. Tax(2002) stated that great fantasies, myths and tales are indeed like dreams: they speak from the unconscious to the unconscious, in the language of the unconscious-symbol and archetype. Many famous fantasy novels include some archetypes and they naturally arise in the story, instead of just coming out into it. So without being aware of them, archetypes are deeply involved with the story.

Two important archetypes are Father and Wise old man. For example, in Lord of the Rings, Gandalf appear as a wise old man and as a guide of Frodo. On the other hand, Elrond is a father figure who takes care of Frodo.

In the Harry Potter, the headmaster of the Hogwarts, Professor Albus Dumbledore is a wise old man who guides Harry. The film Star wars, Yoda acts as an old wise man.

Another important archetype is Hero. Hero usually represents the good side of human that fights against bad guy. The examples of archetype heroes are Beowulf, Harry Potter and Ged from (A wizard of Earthsea). Whereas the shadow represents the dark, bad side of human, and sometimes they arise in animal figure. In the Harry Potter series, Voldemort sometimes shows up as snake and Snakes speak a language called Parseltongue. Only a select few wizards can speak this language, most of whom were Dark wizards. (Harry Potter Wiki, 2012)

References

Harry Potter Wiki. (2012). Snake. Retrieved from http://harrypotter.wikia.com/wiki/Snake

Tax, M. (Jan 28, 2002). In the Year of Harry Potter, Enter the Dragon. In The Nation.

Week 4, Earthsea

 Question,

How is science fiction different from fantasy, according to Le Guinn?

 To answer this question, it is necessary to define what fiction is. In the article “Plausibility Revisited”, Le Guinn (2005) defined that fiction is an imaginary story, it is not what happened. There are many branches of it. Science fiction and Fantasy is one of those. Basically, these two fictions can be divided by plausibility. Fantasy is the story of magic and other supernatural phenomena whereas Science fiction is imaginary but more or less plausible element such as future settings (Le Guinn, 2005). For example, Le Guinn’s famous fiction “The Earthsea Quartet” is a fantasy. As we can see a picture left side of a text, the Earthsea is a high fantasy, setting with fully realised other world. Science fiction, on the other hand, is more realistic. Our coming reading task, Dick’s Man in the High Castle is a Science fiction that a story based on the Second World War. In the lecture, Professor Jonhnson refer to Fantasy that the suspension of disbelief, and reaction to modern technology. From this idea, it might be said that Science fiction is our desire of future life.

Reference :

Le Guinn, U. K. (2005) Plausibility Revisited. Retrieved August 10, 2012, from http://www.ursulakleguin.com/PlausibilityRevisited.html

Week 4 * Earth Sea

Science fiction and heroic fantasy were mostly for men, however, Le Guinn’s style of fantasy includes pure creation of the imagination and this fantasy appeals to both women and men. According to Tax (2002), the genre viewed in America included contemporary realism with monsters, ghosts. Living writers with their work not grounded in realistic, contemporary premise were disqualified by genre from the libraries being shelved with “literature”. Following on Tax (2002), Ursula Le Guinn has written forty books and none of them is predictable and don’t know whether to classify the Earthsea books as children’s literature of adult. Le Guinn explains that people turn to the realms of fantasy for stability because of our rapid moral and mental transformations which can be unsettling for people. Fantasy becomes a commodity for the readers and Le Guinn’s science fiction is about political and social life with imaginary societies and deals with revolution. Le Guinn quotes “The great fantasies, myths, and tales are indeed like dreams...” . According to Armitt (2005), ‘fantasy’ is a word commonly criticized by literary and non-literary. Where fantasising is ‘airy-fairy,’ then, realism is ‘grounded’. Fantasy enjoys along with the unconscious with a greater freedom from our daily lives and avoiding the real life stories. According to Attebery (1980), fantasy invokes wonder by making the impossible seem familiar and the familiar seem new and strange. When we read fantasy we explore the unknown and characters adventure in the mysterious land. There is always a connection between Christianity and fantasy where Christians don’t allow people to watch fantasy movies, for example, Harry Potter, Lord of the rings. However, I believe it’s about the type of movies that can influence people these days that Christians are aware of. In the last chapter in the bible (revelation) has the whole fantasy background where many of the directors get their ideas from. I myself as a Christian believe that it is not about what movies people should watch or not watch, but a lot of fantasy and action movies are highly influential.

Armitt, L. (2005). Fantasy fiction: An introduction. New York: The continuum international publishing group.

Attebery, B. (1980). The fantasy tradition in American literature: From irving to Le Guinn. Bloomington: Indiana U P.

Le Guinn, U. (1993; 1968). The earthsea quartet. London: Penguin.

Tax, M. (2002). Year of Harry Potter, enter the dragon. In The nation.