Week 8 * Man in the High Castle

Philip K. Dick born in Chicago in 1928 is a successful writer and one of the very best writers in the world. According to Brown (2001), he had a thorough grounding in philosophy, religion and psychology. He also was very interested in science fiction and first published his story in 1952 and wrote eight science fiction novels. Dick used SF to explore the obsession with the nature of perceived reality, good and evil and the abuse of power. He was very interested and was obsessed with the idea of living in a different world or the universe that was only apparently real. His novels contain big ideas that are outside of the world and writes about the many strengths of ordinary people in extraordinary circumstances. Dick introduces to another world inside the novel ‘Man in the High Castle’ where it is an illusion and that a better world might exist.

Inside the novel there are several characters that guide their lives based on the I Ching. Juliana Frink is a judo instructor and meets Joe Cinnadella from a dinner and gets attracted to the fascist wwar hero. She is one of the passive characters and consults the I Ching less through a spiritual motivation. The characters are connected in more indirect ways and the novel contains a loose collection of characters.

The author has created the storylines with the questions “What if …”, for example “what if the Allies had lost the war?, how might the march of titanic circumstance effect the ordinary citizen?” and the author has led the audience into the mystery of each of their fate. Following on Brown (2001), the science fiction gives us the ‘what if’ thoughts in our heads and to compare our living world with another world that might exist.

According to Brown (2002), Dick was populating his novels with fully-realized characters drawn from real life and combined people he knew and versions of himself. Dick had difficulties in his family and he believed that his mother had abandoned his twin sister who died five weeks after her birth. Dick suffered from anxiety attacks and was not able to adapt socially. This can be one of the reasons that he was interested in science fiction and also wanting to create his own world in the story and see if from a different view.

From my research, Dick didn’t think scepticism was a way of life and he provides some of what we need to deal with our fears. According to Wittkower (2011), Dick’s philosophical journeys help us to face our fears to tackle these questions in an honest and open way. 

Reference:

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

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

Wittkower, D.E. (2011). Philip K. Dick and philosophy. United States: Carus Publishing Company.

Weeks 5-6; Anime - Princess Mononoke

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

Shoujo is a subgenre of anime. The term Shoujo translates simply to "little female". It is generally limited to girls around the ages of twelve to thirteen. Metaphorically, Shoujo refers to 'coming of age', the transition between infancy and maturity. These females are often portrayed as lightly erotic, and are becoming familiar with sexuality.

Basically, a Shoujo anime story will be set in a dreamy, magical fantasy world. It's a big contrast to the dark and dreary war-time and sci-fi type plots commonly explored in other areas of anime. 

Japanese find this subgenre fascinating and entertaining because it is all about the transition from "childhood to adulthood, powerless to power, innocence to awareness". Suprisingly, this subgenre is as appealing to males as it is females. Napier states that although female teenagers addicted to "kawaii" (cute) characters and plots would be the assumed target audience, adult Japanese males make up a large portion of the Shoujo fan base.

In regards to Princess Mononoke and Miyizaki, the female characters most definitely fall into the Shoujo archetype; due to their age and appearance. However, there is one large difference. Generally, Shoujo characters are portrayed as passive, in a "timeless dreamland". In contrast, Miyizaki's characters are strong and active. They are tough, curious and courageous. They have even been referred to as "youths wearing Shoujo masks" - meaning they look the part, but most definitely do not act it!

In his film Princess Mononoke, the female characters are anything but soft, passive, and typically pretty. Miyizaki has done this on purpose. He wanted to beat the Shoujo stereotype; he was determined for his female characters to represent more than just an attractive young women, something he describes as "play toys for Lolita complex guys" and "pets".  As we discussed in an earlier lecture, Miyizaki did this for political reasons. He wanted his viewers to re-evaluate the female anime stereotype.."to turn something on it's head".

I think he did so successfully.

Princess Mononoke is completely different to that of any other Shouji anime characters, there was never anyone invented quite as different to the Shoujo stereotype as the feral and wild Princess Mononoke!

Reference:

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave/Macmillan. 

Typical Shoujo female characters                                   Miyizaki's Princess Mononoke            

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.