Academic literature on the topic 'Animated films – Japan – Encyclopedias'

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).

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.

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.

AbstrakBandung memiliki posisi begitu penting dalam perkembangan seni rupa kontemporer Indonesia.Perkembangan yang pesat paska boom tahun 2000an serta peran penting salah satu akademi seni tertua di Indonesia menjadi lahan subur bermunculannya seniman muda dengan karakter yang khas. Karakter yang khas tersebut salah satuya dimiliki oleh Radi Arwinda, seorang seniman yang dibesarkan dari lingkungan keluarga yang begitu tertarik pada kebudayaan tradisi, namun tumbuh dan berkembang di kota urban dengan dipengaruhi oleh kultur populer Jepang dan Amerika lewat film animasi, dan komik. Karya-karya Radi pada perkembangannya merupakan upaya re-interpretasi budaya, mengubah struktur dengan pembacaan personal terhadap fenomena di masyarakat.Penelitian ini menggunakan pendekatan metodologi kualitatif secara deskriptif dengan menganalisis berbagai macam data literatur serta data hasil wawancara dan observasi yang mendukung penelitian. Penelitian ini juga meminjam pendekatan kritik seni untuk menginterpretasikan karya.(Kata-kata Kunci: Radi Arwinda re-interpretasi budaya tradisi, seni rupa kontemporer, , Bandung)AbstractBandung has a very important position in the development of contemporary art in Indonesia. The rapid development after the boom of the 2000s as well as the important role of one of the oldest art academy in Indonesia to be fertile ground emergence of young artists with a distinctive character. Distinctive character is one of owned by Radi Arwinda, an artist who grew up in the so interested in cultural tradition family environment, but thrive in an urban city with popular Japan and the US culture influenced through animated films and comics. Radi works on the development of an attempt to re-interpretation of the culture, changing the structure of the personal reading of the phenomena in the society. This study uses descriptive qualitative methodological approach to analyzing a wide range of literature data as well as data from interviews and observations to support research. The study also borrow approach of art criticism to interpret the works.(Key Words:Radi Arwinda,traditional cultural re-interpretation, contemporary art, Bandung)

To re-imagine can, at one extreme, be a casual thought (what if I moved all the furniture in the living room?) and, at the other, re-imagining can be a complex process (what if I adapt a classic text into a major film?). There is a long history of working with the ideas of others and of re-working our own ideas. Of taking a concept and re-imagining it into something that is similar to the original and yet offers something new. Such re-imaginations are all around us; from the various interpretations of the Sherlock Holmes stories to the adjustments made, often over generations, to family recipes. Some of these efforts are the result of a creative drive to experiment and push boundaries, some efforts are inspired by changes in society or technology, yet others will be born of a sense of 'this can be done better' or 'done differently'. Essentially, to re-imagine is to ask questions, to interrogate that which is often taken for granted. This issue of M/C Journal seeks to explore the 'why' and the 'how' of re-imagining both the everyday and the extraordinary. In a reflection of the scale and scope of the potential to re-imagine all that is around us, this issue is particularly diverse. The contributions offer explorations into varied disciplines, use a range of methodological lenses, and deploy different writing styles. To this end we present a range of articles—some of which contain quite challenging content—that cover copyright, crime fiction, the stage, the literary brand and film, horror and children’s film, television, military-inspired fashion, and a piece that focuses on events leading up to September 11, 2001. We then present three, quite different, works that explore various aspects of Australian Indigenous culture and history. We begin with our feature article: “‘They’re creepy and they’re kooky’ and They’re Copyrighted: How Copyright Is Used to Dampen the (Re-)Imagination”. In this work Steve Collins explores important issues of copyright in the re-imagining and re-purposing of content. In particular, this article unpacks—using examples from the United States—how copyright legislation can restrict the activities of creative practitioners, across varied fields, and so adds to the debate on copyright reform. In our lead article “The Re-imagining Inherent in Crime Fiction Translation”, by Alistair Rolls, ideas of re-imagination, language, and the world’s most popular genre—crime fiction—are critically appraised. Rolls looks at a suite of issues around imagining original and re-imagining, through translation, crime fiction texts. These two forms of creativity are essential to the genre's development for, as Rolls notes, this type of fiction was born, “simultaneously in France and America but also in the translation zone between the two.” Amy Antonio re-imagines the femme fatale. Antonio acknowledges the centrality of the femme fatale to the noir tradition and re-imagines this iconic figure by positioning her on the Renaissance stage, explaining how the historical factors that precipitated the emergence of the noir femme fatale in the years following World War II, similarly existed in the sixteenth century and, as a result, the femme fatale can be re-imagined in a series of Elizabethan and Jacobean plays. The articles in this issue turn from fiction, to theatre, and then to film with Leonie Rutherford embarking on a “Re-imagining the Brand” exercise. Through two, very informative, case studies—Adventures of Tin Tin and Silver, Return to Treasure Island—Rutherford engages with issues of re-imagining classic literary texts as big-screen blockbusters. This article addresses some of the complexities associated with the updating “of classic texts [that] require interpretation and the negotiation of subtle changes in values that have occurred since the creation of the ‘original’.” Erin Hawley also looks at film, through a lens of horror, in “Re-imagining the Horror Genre in Children’s Animated Film”. Hawley explores how animated films have always been an ambiguous space “in terms of age, pleasure, and viewership.” Hawley goes on to challenge common assumptions that “animation itself is often a signifier of safety, fun, nostalgia, and childishness; it is a means of addressing families and young audiences” and outlines how animation complements horror where, “the fantastic and transformative aspects of animation can be powerful tools for telling stories that are dark, surprising, or somehow subversive.” Issues of the small screen, and social media, are reviewed by Karin van Es, Daniela van Geenen, and Thomas Boeschoten in their work of “Re-imagining Television Audience Research on Twitter”. In particular, this work highlights issues with how audience research is undertaken and argues for new ways forward that adapt to the changing viewing landscape: one that features social media as an increasingly important tool for people to engage with more traditional types of entertainment. Fashion, too, features within this special issue with the work Emerald L. King and Denise N. Rall, “Re-imagining the Empire of Japan through Japanese Schoolboy Uniforms”. King and Rall present their research into the significant re-imagining of Japanese cultural and national identities, which are explored in this work through the cataclysmic impact of Western ideologies on Japanese cultural traditions. The idea of re-imagining is challenged by Meg Stalcup through her article “What If? Re-imagined Scenarios and the Re-virtualisation of History” which looks at several events that took place in the lead up to September 11, 2001. Several of the men who would become 9/11 hijackers were stopped for minor traffic violations. Police officers in the United States replayed these incidents of contact, yet their questioning “what if?” asked not only if those moments could have revealed the plot of that traumatic day, but also places alternate scenarios into play. John C. Ryan, Danielle Brady, and Christopher Kueh guide us through a geographical re-imagining of one of Australia’s capital cities in “Where Fanny Balbuk Walked: Re-imagining Perth’s Wetlands through Digital Modelling”. This re-imagining of a major city’s natural environment calls “attention to past indiscretions while invigorating future possibilities.” Moreover, this work highlights the value of re-imagining a city anew as well as re-imagining the original after a process of considerable change. Rachel Franks traces the history of an effort to communicate the concept of equality under the law, to the Indigenous peoples of Van Diemen’s Land (Tasmania), in “A True Crime Tale: Re-imagining Governor Arthur’s Proclamation Board for the Tasmanian Aborigines”. This article provides an overview of some of the various re-imaginings of this Board—including the re-imagining of the Board’s history—and also offers a new re-imagination of this curious, colonial object; positing that the Board serves as an early “pamphlet” on justice and punishment. Brooke Collins-Gearing, Vivien Cadungog, Sophie Camilleri, Erin Comensoli, Elissa Duncan, Leitesha Green, Adam Phillips, and Rebecca Stone take a very different, and rather creative, approach to re-imagining with “Listenin’ Up: Re-Imagining Ourselves through Stories of and from Country” a work that explores Western discourses of education; and looks at ways to engage with Aboriginal knowledge through the pedagogical and personal act of listening. These authors attempt to re-imagine “the institutionalised space of our classroom through a dialogic pedagogy.” These articles are, necessarily, brief. Yet, each work does provide insight into various aspects of the re-imagining process while offering new perspectives on how re-imagining takes place—in material culture, learning practices, or in all important media re-interpretations of the world around us. We extend our thanks to our contributors. We thank, too, all those who engaged in the blind peer review process. We sincerely appreciate the efforts of those who offered their expertise and their time as well as offering valuable comments on a wide range of contributions. Rachel Franks, Simon Dwyer, and Denise N. RallEditors

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.

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

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.

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

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)

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.