Academic literature on the topic 'Animated films – Japan'
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Journal articles on the topic "Animated films – Japan"
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Lyu, Shuhang. "An Analysis of Transmedia Storytelling of Chinese Animated Films Based on the Perspective of Media Mix." Communications in Humanities Research 13, no. 1 (2023): 270–75. http://dx.doi.org/10.54254/2753-7064/13/20230354.
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In recent years, Chinas animation industry has drawn on the experience of some developed countries in the process of development. For example, Japan has already formed an animation industry and disseminates its works through various media through transmedia storytelling to obtain better communication effects. There are still some problems with transmedia storytelling and media mix in Chinese animation. This study uses a content analysis and ethnographic approach to compare Chinese and Japanese animation movies in terms of the number of transmedia and the effect of transmedia communication. In order to analyze the problems of Chinese animated films in transmedia communication, as a further extension of transmedia theory in animation, this paper summarises the problems of Chinese animated films in transmedia communication based on previous theories of transmedia communication as well as research on Chinese animation, and suggests that Chinese animated films should perhaps learn from Japanese animation films to increase their interaction with other media, and to become part of the media mix of Chinese animation. According to statistics, it was found that the number of Chinese animated films spread transmedia in 2019 was much lower than that of Japanese animation films, which means that if Chinese animated films are seen as part of a media mix , there are still have problems with Chinese animated films. Improving the linkage of animation films with other media to increase the number and effectiveness of their transmedia dissemination may be the solution.
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Yeremenko, Evgenii Dmitrievich, та Zoya Vyacheslavovna Proshkova. "Редакторская практика в киносотрудничестве Советского Союза и Японии". Vestnik of Saint Petersburg State University of Culture, № 4 (53) (грудень 2022): 18–23. http://dx.doi.org/10.30725/2619-0303-2022-4-18-23.
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The ideological and cultural context of Soviet-Japanese cinematographic contacts is determined by the activities of foreign film editors. The front of the work of representatives of this profession is selection, literary translation, dubbing, and in some cases – abbreviations, remounting of Japanese films for Soviet rental. Despite the «alien lifestyle», Japanese films were not just exotic «land of the rising sun», but also a kind of interpretation of European and American cultures in different genres: post-neorealist drama («Naked Island», «Red Beard»), sports film («The Genius of Judo»), film catastrophe («The Death of Japan», «The Legend of the Dinosaur»), children’s animation («Puss in Boots»). Joint film productions with Japan are especially noteworthy for the domestic cinema of the 1970s and 80s. The artistic space of these works is presented in the form of a historical drama («Dersu Uzala»), a melodrama («Moscow, my love», «Melodies of the White no-chi»), an animated fairy tale («The Adventures of the Penguin Lolo»). The Soviet Japanese co-production remains a historical example of a creative compromise between states with diverse types of social devices.
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Ratriningtyas, Novi, Jauhar Wahyuni, and Muhammad Firaz Rizaldy. "Perubahan Perilaku Pelaku Bullying di Film Animasi Koe No Katachi (Studi Semiotika Roland Barthes)." Indonesian Social Science Review 1, no. 1 (2023): 20–28. http://dx.doi.org/10.61105/issr.v1i1.37.
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An animated movie is a movie made by animating still objects projected into motion using projection tools or application software. The reason people are able to enjoy animated films is that they have a more interesting visual appearance so that the audience does not easily feel bored when watching them. An example of an animated film that has attracted public attention and has received the 26th Japan Movie Critics Awards is the animated film Koe no Katachi. This film has a bullying theme, where Ishida Shouya as a main player is a bully who then wants to change his behavior to become a good person. This research aims to represent the changes of bullying behavior in the animated film Koe no Katachi. Changes of bullying behavior in the animated film Koe no Katachi are influenced by external and internal factors. The object of this research is the main player of the animated film Koe no Katachi, Ishida Shouya. The method of analysis in this research uses the Roland Barthes semiotic analysis method which analyzes the meaning of denotation, connotation and myth in the unit of analysis as many as five images of changes in the behavior of bullying perpetrators in the Koe no Katachi film. The results of this study show that the behavioral changes of bullying perpetrators are influenced by several factors originating from the perpetrators themselves, parents, friends, and victims who are able to change the bullying perpetrators into good people. Film animasi merupakan film yang dibuat dengan menghidupkan benda diam diproyeksikan menjadi bergerak dengan menggunakan tool proyeksi atau software aplikasi. Alasan masyarakat mampu menikmati film animasi adalah memiliki tampilan visual yang lebih menarik sehingga penonton tidak mudah merasa bosan saat menontonnya. Contoh film animasi yang menarik perhatian masyarakat dan telah mendapatkan Japan Movie Critics Awards ke-26 adalah film animasi Koe no Katachi. Film ini bertema bullying, dimana Ishida Shouya sebagai pemain utama adalah pelaku bullying yang kemudian ingin merubah perilakunya menjadi orang baik. Penelitian ini bertujuan merepresentasikan perubahan perilaku pelaku bullying yang ada dalam film animasi Koe no Katachi. Perubahan perilaku yang ada dalam film animasi Koe no Katachi dipengaruhi oleh faktor eksternal dan internal. Objek dalam penelitian ini adalah pemain utama dari film animasi Koe no Katachi yaitu Ishida Shouya. Metode analisis dalam penilitian ini menggunakan metode analisis semiotika Roland Barthes yang menganalisis makna denotasi, konotasi dan mitos di unit analisis sebanyak lima gambar perubahan perilaku pelaku bullying di film Koe no Katachi. Hasil dari penelitian ini menunjukan perubahan perilaku pelaku bullying yang dipengaruhi oleh beberapa faktor yang bersumber dari diri pelaku, orang tua, teman, dan korban yang mampu merubah pelaku bullying menjadi orang baik.
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Chon, Bum Soo. "Diversity of Theatrical Hit Animated Films Supply on OTT Platforms: Focusing on Genre and Nationality." Academic Association of Global Cultural Contents 57 (November 30, 2023): 225–45. http://dx.doi.org/10.32611/jgcc.2023.11.57.225.
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This study aims to examine the diversity of animation supply on OTT platforms using the top 50 domestic and international animated films in terms of box office success as a basis. The key findings are as follows. Firstly, subscription-based OTT services generally tend to offer only popular selected animations. On the other hand, VOD-based OTT services were found to provide most hit animations through purchasing or renting options. Subscription-based OTT services had lower content scale and diversity compared to VOD-based OTT services. Secondly, when examining the distribution by nationality, animations from three countries including Japan, the United States, and Korea accounted for 68.0%. When looking at the specific OTT platform services, Japanese, American, and Korean animations had a high supply rate across various OTT services, including Wavve Purchase (83.3%), Apple TV (75.0%), Disney Plus (100.0%), Watcha (66.7%), and Netflix (70.0%). Thirdly, when examining the distribution by genre, adventure, fantasy, and action accounted for 64.0%. When observed on specific OTT platform services, the supply rate of animations within these three genres was high on Wavve Purchase (66.7%), Apple TV (62.5%), Disney Plus (66.7%), Watcha (76.7%), and Netflix (60.0%).
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Lamarre, Thomas. "Regional tv: Affective Media Geographies." Asiascape: Digital Asia 2, no. 1-2 (2015): 93–126. http://dx.doi.org/10.1163/22142312-12340021.
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The rise of what has been called ‘new television’ or ‘media regionalism’ in East Asia has occurred in a context in which the production of media networks ‒ both infrastructures (broadcast and relay stations, satellites, cable systems) and media devices or platforms (tvsets,vcr,vcd, and mobile phones) ‒ outstrips the production of contents. The essay considers the question: what is coming into common through this emerging sense of media regionalism? Looking at the highly popular seriesHana yori dangoor ‘Boys over Flowers’, which has been formatted across media forms (such as manga, animatedtvseries, animated films, television dramas, and theatrical release cinema) and across nations (Japan, Taiwan, Korea, China, and the Philippines), this essay finds that the feeling of media regionalism is related to both the gap between infrastructures (of distribution and production) and the gap within media distribution (between mobility and privatization).
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Cooley, Kevin. "Past the End of the Catbus Line: Mushishi’s Apparitional Actants." Animation 14, no. 3 (2019): 178–90. http://dx.doi.org/10.1177/1746847719875034.
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After evaluating some of the limitations in the reception of Hayao Miyazaki’s films as advocacy for climate change reform, the author suggests the need for a new path in animation toward animating the nonhuman. He nominates the anime series Mushishi as the ideal trailblazer for a more ecologically sound and posthumanistically inclined future. Mushishi envisions a fairly realistic turn-of-the-20th-century Japan in which beings called ‘ mushi’, simple organisms that are neither plant nor animal nor Miyazaki-esque fantastic spirit, exist alongside small agrarian communities. Using Mushishi and its barely animated titular beings as a test case, he argues that animation’s allusory–illusory nature and depiction of nature can combat the central tenets of anthropocentrism, generating a visually figurative ontology in which humans and nonhuman animals, subjects and objects, and characters and landscapes are democratically leveled down to symbolic totems, all rendered unreal through the filter of cartooning.
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Condry, Ian. "Anime Creativity." Theory, Culture & Society 26, no. 2-3 (2009): 139–63. http://dx.doi.org/10.1177/0263276409103111.
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This article examines ethnographically the production of anime (Japanese animated films and TV shows) by focusing on how professional animators use characters and dramatic premises to organize their collaborative creativity. In contrast to much of the analysis of anime that focuses on the stories of particular media texts, I argue that a character-based analysis provides a critical perspective on how anime relates to broader transmedia phenomena, from licensed merchandise to fan activities. The ideas of characters, premises, and world-settings also specify in greater detail the logic of anime production, which too often is glossed as emerging from a generalized Japanese culture, as in the ongoing debates about `cool Japan'. I conclude that an ethnographic approach to anime production through a focus on characters can offer new ways of thinking about what moves across media, what distinguishes anime from other media forms, and what gives anime its value.
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Almeida Santos, Caroline, and Philippe Humblé. "Nihon Goes West: Exploring the Non-Translation of Honorifics in the English Subtitles of a Japanese Video Game." Cadernos de Tradução 43, no. 1 (2023): 1–26. http://dx.doi.org/10.5007/2175-7968.2023.e87234.
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Japan has a long tradition when it comes to graphic novels, animated series, films, and, more recently, video games. This popularity has gained international attention in recent decades, creating a market for Japanese-to-English translation. An example of such translations is the localized version of the video game Yakuza 0. Friedrich Schleiermacher, and Lawrence Venuti in his footsteps, argue that there are fundamentally two ways of translating: domestication and foreignization. However, what we find in the translation of Yakuza 0 is a hybrid way of working, which demonstrates that the issue is not as black and white. This paper focuses on the aforementioned game to draw examples and discuss the impact of honorifics on socio-cultural markers and relationship dynamics. First, an overview of the Japanese system of honorific characters is provided in order to understand why translators would choose to retain them in their subtitles. Second, we aim to discuss possible factors that lead translators and localization professionals to retain honorifics in their translation. Finally, we contribute to the broader discussion of ideological and cultural factors that influence the dynamics between source and target culture, by pointing to possible shifts in this relationship, in view of Venuti's critique of Anglo-American translation.
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Kaka Kamaludin, Woro Isti Rahayu, and Muhammad Yusril Helmi Setywan. "TRANSFER LEARNING TO PREDICT GENRE BASED ON ANIME POSTERS." Jurnal Teknik Informatika (Jutif) 4, no. 5 (2023): 1041–52. http://dx.doi.org/10.52436/1.jutif.2023.4.5.860.
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Anime is an animated film with a distinctive graphic design originating from Japan, which is widely favored by various groups. anime itself has a genre like a movie in general, but there is a slight difference from ordinary films, anime has additional genres that are not in ordinary films, such as the Ecchi, Mahou Shoujou, Seinen, Shounen, and Josei genres. Since those genres only exist in anime, this research is devoted to predicting those anime genres. The prediction will use posters from the anime itself, with the help of image processing, namely the Convolutional Neural Network method and Transfer Learning. Transfer Learning will be implanted as a comparison of the performance of the existing architecture with the architecture that will be created, whether the architecture is able to process the dataset properly. The dataset to be used is a dataset of posters and csv documents containing images and details of the anime, the dataset contains anime data from 1980 to 2021 and contains 11651 anime poster data which has different resolution sizes. The ResNet50 model has the highest accuracy rate of 48% with a loss rate of 36%, while InceptionV3 produces 35% accuracy with 69% loss. At the time of testing ResNet50 gave the smallest genre percentage value of CustomModel and InceptionV3, while CustomModel gave the highest genre value. In addition to the value, all modes also predicted the genre well. Especially InceptionV3 is able to predict the music genre, because the music genre has a very small number of datasets, and this music genre is difficult to predict by the ResNet50 and CustomModel models.
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Yasim, Muh Nur Rahmat. "Otaku Dadakan: Studi Kasus Penggemar Anime One Piece di Kalangan Mahasiswa." Emik 5, no. 1 (2022): 84–100. http://dx.doi.org/10.46918/emik.v5i1.1216.
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nime (Japanese animation) which currently become popular in the community has resulted in the emergence of various anime products, such as action figures, posters, comics, and even animated films. One of the most popular anime is One Piece, and its rabid fans are known as anime otaku. This anime otaku phenomenon not only occurs in Japan, but also throughout the world, including Indonesia. This article deals with newcomers who are interested in popular anime, and call themselves otaku, labeled as impromptu otaku by anime otaku.
 Using a qualitative approach, this research was conducted through social media Instagram and TikTok. The research informants were ten students, who came from public and private universities in the city of Makassar. They consist of six men and four women, whose age range between 19 and 25 years. Data was collected using in-depth interview and observation techniques.
 One Piece is one of the anime that has a high rating and is the most popular anime of all time. For impromptu otaku, this is considered as “the king of anime", so that fanaticism towards anime is only focused on the One Piece anime, even though there are many other anime that also have high ratings. While anime otaku are not just fans of one anime. In the process of choosing anime One Piece, a person goes through three stages, namely selection, interpretation, and reaction stages. One of the aspects that makes One Piece as an interesting anime for otaku is how One Piece is able to raise spirits through motivational words uttered by certain characters in the One Piece anime. The identity of impromptu otaku is shown through their involvement in various activities, showing that they are fans of One Piece anime, namely following One Piece developments on the internet and social media, collecting One Piece-themed merchandise, and joining the fan community. This indicates that impromptu otaku realizes their "class" when compared to anime otaku. Thus, by participating in related activities they hope to be aligned as anime otaku.
Dissertations / Theses on the topic "Animated films – Japan"
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Suparman, Michie Akahane School of Modern Language Studies UNSW. "An investigation into audience perception of Mononoke Hime: construction and reconstruction of contemporary Japanese identity." Awarded by:University of New South Wales. School of Modern Language Studies, 2006. http://handle.unsw.edu.au/1959.4/26975.
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This exploratory study follows existing theory and analysis of mass media product and its audience analysis. It aims to analyse how audience members utilise a popular anime in Japan for their construction and reconstruction of sense of self, which is referred to as socialisation. Academic research has increasingly shed light on audience members??? socialisation by utilising mass media products in encompassing academic fields such as media studies, communication studies and cultural studies. It is widely agreed that the content of mass media products play a significant role in their socialisation. This study takes up a Japanese anime, Mononoke Hime as a sample case for investigating audience members??? socialization. Through the analysis of reactions of audience members to Mononoke Hime, it will be investigated how audience members interpret the anime reflecting one???s experience in the society relating the experience to the content of Mononoke Hime. It will be clarified that the audience members of the anime construct and reconstruct their sense of self, morals and values in the society, that is, they utilize the anime as a facility for their socialization. The data of this study are collected comments which are compiled in a published magazine and private comments posted on Internet sites. 133 comments in the magazine and 32 comments on Internet sites are selected for the analysis. The data were analysed by two analytical approaches. The first analysis is to see how the consulted viewers established their relationship with the anime, while the second analysis is to see how the viewers depicted and interpreted the content of the anime. This study concluded that the consulted audience members show high level of ideological involvement with the anime; they depict parts of the anime relating to their experience in the real life and talk the anime seriously rather than playfully enjoy it as an entertainment. By analysing the comments of consulted audience members, it is also revealed that the audience members take characters of the anime as a role model both in cross gender and gender based ways.
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Hu, Tze-yue Gigi. "Understanding Japanese animation : from Miyazaki and Takahata anime /." Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B24729954.
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Chow, Cheuk-wing, and 周卓穎. "Nostalgia, nature, and the re-enchantment of modern world in Hayao Miyazaki's anime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B4839449X.
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The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment.
Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars.
In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity.
The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime.
Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity.
The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts
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潘文慧 and Man-wai Poon. "Cultural globalization?: the contemporary influence of Japanese animation on Hong Kong teenagers." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31226620.
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Kovacic, Mateja. "Technologies and paradigms of vision: from the scientific revolution of the Edo period to contemporary Japanese animation." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/317.
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This thesis is mainly concerned with uncovering the meanings and associations embedded in the field of popular culture production in Japanese and European sociocultural contexts, using a comparative approach to unearth the effects, materials, and paradigms of the technological and scientific discourses during the Scientific Revolution. Linking the fields of the anthropology of technology and science, popular culture, and material culture studies, the thesis offers a historical overview of the development of machines and visual technologies in the Edo period, arguing that visuality is the key to delayering the cultural history of technology and science in Japanese popular culture, animation in particular. The objective of this work, therefore, is to look at the assemblage of the scientific, technological, and philosophical discourses to unveil the cultural processes between optical regimes, scientific practices, and popular culture. In its emphasis on the interconnectedness of visual technologies and the field of popular culture production, the thesis asserts that scientific development, particularly under the influence of the Scientific Revolution and Japanese Rangaku scholarship, is closely tied with the function of entertainment in Japanese society. With the understanding of technology as a total social phenomenon that interlocks the material and the symbolic in a complex network, which produces meanings and associations, the thesis further stresses the view that intellectual history cannot be separated from material culture studies; it also grapples with a number of existing scholarships on the history of science, particularly their inattentiveness to cultural histories in their historical surveys of scientific development. Finally, this work closely examines Oshii Mamoru's Ghost in the Shell and its sequels and the anime TV series Psycho-Pass to explore the tangled responses to the ideologies of the Euro-American mode of modernity.
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Teshigawara, Mihoko. "Voices in Japanese animation : a phonetic study of vocal stereotypes of heroes and villains in Japanese culture." 2003. http://hdl.handle.net/1828/361.
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Mehta, Shubham. "Adapting Manga to live action." Thesis, 2016. http://hdl.handle.net/10539/22637.
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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree of Master of Arts in Film and Television.<br>For this research project, I search for an approach to adaptation theory that may be better suited to adapting Manga (Japanese comics) to film. The American comic book adaptations in the last eight years have met with resounding success, and their increased number has also prompted a shift in what audiences and producers qualify as a successful adaptation. For example, 19 films that have been made by Marvel, Sony and Fox since 2008, were adapted from Marvel comics, but followed plot lines that varied greatly from that of the comics (IMDB.com, n.d). However, Manga adaptations have not met with the same level of success, and as such, I propose that a different approach might be necessary when it comes to adapting them.
To do so, I discuss how Japanese Manga has been adapted by Hollywood in the past, and why those attempts have been considered a failure, the key example being that of ‘Dragonball Evolution’ (James Wong, 2008), which was based on the famous series, ‘Dragon Ball’, created by Akira Toriyama in 1984. To conclude, I propose my approach to adapting Manga and support it with a short film adaptation.<br>MT2017
Books on the topic "Animated films – Japan"
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Cavallaro, Dani. Anime intersections: Tradition and innovation in theme and technique. McFarland & Co., 2007.
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Poitras, Gilles. The anime companion: What's Japanese in Japanese animation? Stone Bridge Press, 1999.
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T, Brown Steven, ed. Cinema anime: Critical engagements with Japanese animation. Palgrave Macmillan, 2005.
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Litten, Frederick S. Animated film in Japan until 1919: Western animation and the beginnings of anime. Books on Demand, 2017.
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Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. McFarland & Co., 2010.
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Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. McFarland & Co., 2010.
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Cavallaro, Dani. Anime and the visual novel: Narrative structure, design and play at the crossroads of animation and computer games. McFarland & Co., 2009.
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Bijutsukan, Hyōgo Kenritsu, and Media Āto Kokusaika Suishin Iinkai, eds. Manga*anime*games from Japan. Kokushokankokai, 2015.
Find full textBook chapters on the topic "Animated films – Japan"
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Hori, Hikari. "The Dream of Japanese National Animation." In Promiscuous Media. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501714542.003.0005.
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Chapter Four turns to animated film, revealing the various transnational inspirations that constructed the medium in its formative years in Japan. Moreover, it also emphasizes the transmedia recursivity of painting, photography, dramatic and documentary films, and animation during total war. Several distinct visual motifs, national historical incidents, and narrative molds were repeatedly used in different media in the early 1940s, which sustained the sense of national affiliation of imperial citizens, forged shared emotions and sensitivity, and privileged specific myths, ideas, and aesthetics. Works by animator Seo Mitsuyo (1911-2010) and his contemporaries serve as a guide to the development of the medium as well as to futile attempts to create a nationalized form. The chapter reveals the animators’ artistic curiosity about foreign theories and films; their passionate creativity; and the collisions between abstract political ideologies of cultural purity and actual, heterogeneous filmmaking practices. (142 words)
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Cinquegrani, Maurizio. "Hiroshima, Chūgoku Region, Japan, 6 August 1945, 8:15 a.m." In Film, Hot War Traces and Cold War Spaces. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474475198.003.0005.
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Chapter Four opens with the moment when Paul Tibbets dropped the atomic bomb codenamed Little Boy on city of Hiroshima on the morning of 6 August 1945 and focuses on the site of a domed building which was located below the hypocentre of the detonation of the bomb. The Hiroshima Prefectural Industrial Promotion Hall was largely destroyed by the atomic blast, its ruins eventually preserved and used to memorialise the bombing under the name of Atomic Bomb Dome. The role of this building in the urban fabric of Hiroshima is explored through film in relation to its significance and its altered role from a symbol of Hiroshima’s civic pride and Japan’s imperialism to a monumentalised site of memory of the atomic bombing and an emblem of pacifism. This chapter investigates the image of the building in amateur films made in the 1930s, in newsreels made after the bombing, and in live-action and animated dramas set in Hiroshima in the aftermath of the attack.
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Verevis, Constantine. "Trading Places: Das doppelte Lottchen and The Parent Trap." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0009.
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In 1961, Walt Disney Productions released The Parent Trap. A huge popular and commercial success for the Disney studio, it was theatrically re-issued in 1968; extended through three television sequels (1986, 1989, 1989); and remade in 1998. Perhaps less well known is that Disney’s 1961 version of The Parent Trap was itself already a remake of German, Japanese and British versions – Das doppelte Lottchen (1950), Hibari no komoriuta (1951), and Twice Upon a Time (1953) – each in turn derived from Erich Kästner’s 1949 novel Das doppelte Lottchen. While the cultural production does not end here – with subsequent versions reported in India, Iran and Korea, and animated and live action remakes in Japan and Germany – this chapter inquires into the transnational connections between Kästner’s novel and the US and German versions (originals and remakes). This chapter extends its analysis beyond Kästner’s twin figures of Lisa (from Vienna) and Lotte (from Munich) to chart not only a cartography of transnational flows – a political economy of textual production and reception – but also indicate the way in which the films’ exchange of twins is symptomatic of that between original and transnational film remake.
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Park, Giryung. "The “Spiritual” Role of the Media? Heidi, Girl of the Alps in Japan and Korea." In Animating the Spirited. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496826268.003.0012.
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This essay focuses on the TV animation Heidi, Girl of the Alps (1974). Made in Japan, it is the most famous international adaptation of the original novel Heidi by the Swiss writer Johanna Spyri. The novel has been translated into many languages and adapted into various media forms—including as a movie, play, animation feature film, television series, cartoon, and picture book. The author surveys the different characteristics and adaptations of the Japan-produced TV animation and its original book publication and argues that progressively, the animated version and its spirited contents have elevated the visual image of Heidi and its original publication. Through studying the audiences in Japan and Korea, the essay speculates on the “spiritual role of the media” in transcending cultural boundaries and discusses the resulting cultural energy that inspires audiences to seek the “spiritual” in connection with their attraction to the animated story.