Weeks 5 and 6
Princess Mononoke
1) What is the ‘shojo’ and how does it often function in anime?
2) According to Lent (2000) what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing Japan and China)?
3)Is anime a high or low cultural genre/media, according to Napier (2005)? What are some of its subgenres?
4)Does Anime confront social issues? Gender roles in Princess Mononoke.
1) What is the ‘shojo’ and how does it often function in anime?
ReplyDelete4) Does Anime confront social issues? Gender roles in Princess Mononoke.
Shojo is a Japanese word for “girl”; it originally derived from a Chinese expression with the same letters - “少女”. Shojo refers to the female juvenile under age of 20 (Wikipedia, 2017).
Shojo often appears in manga or anime, shojo manga or anime aimed at a teenage female readership. On the other hand, Shonen manga or anime aimed at the young male audience (Wikipedia, 2017). Shojo anime usually function in a feminine angle of view. However, some Shojo anime remains popular amongst a male audience such as . Kaichou Wa Maid Sama is a Shojo anime targeted at a female audience, but it contains humor that appeals to all genders. Kaichou Wa Maid Sama is one typical shojo anime which usually excludes offensive or violent content and focuses on romantic relationships; this is to target a young female demographic. Undoubtedly, Shojo often appears in some other kind anime such as Princess Mononoke. Princess Mononoke is not specifically a Shojo anime; it is a Japanese historical fantasy epic which also contains a female protagonist. Since Princess Mononoke contains female protagonists, then it can appeal to the female like a shojo anime. The female audience can identify with the main female character.
As we know, Asian woman tends to be portrayed as weak and protected by strong males in the early anime such as Kagome Higurashi in Inuyasha; the male character always protected her. Nowadays, female characters are often being portrayed as strong and powerful to fight the dark side in the anime. Princess Mononoke is a case in point, it broke the stereotype of Asian female community, and female characters are vigorous and compelling in the film. They tend to be the leader in the story such as Lady Eboshi who’s in charge of the iron town and San’s representing the chief of the natural. The female workers in the iron town are also strong and they protect the iron town but male workers are not that strong as the female does. Pretty Guardian Sailor Moon Crystal is also a good example; the female characters are strong to fight the dark side without the male characters.
References:
Wikipedia (n.d.) Shōjo Retrieved 3/9/2017 from https://en.wikipedia.org/wiki/Sh%C5%8Djo
Wikipedia (n.d.) Shōjo manga Retrieved 3/9/2017 from https://en.wikipedia.org/wiki/Sh%C5%8Djo_manga
2) According to Lent (2000) what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing Japan and China)?
ReplyDeleteAnime, derived from the word animation, has and continues to have a significant place within Asian societies, from entertainment to serving as a political message. Animation has been moulded, with each different culture producing its own style, creating a pop culture known worldwide in varying degrees.
Although animation has been strongly influenced by western societal companies, such as Disney and Fleischer studio, it has completely taken off in Asian societies, accounting for around 50 % of ticket sales (lent, 2000), Princess Mononoke (Miyazaki, 2006) breaking box office records at the time (Napier, 2005, p.7). In Asia, anime has become a mass popular culture, especially in Japan and China, whereas in it has become more of a sub culture in America (Napier, 2005, p.4). Lent notes,
“Asian animators save those of Japan, were insistent on adapting only those elements of foreign animation that fit their culture, never favouring full adoption.” (2000)
An adoption and interpretation that has seen every nation create its own artistic style on animation, such as the Chinese that use “indigenous styles and techniques such as paper-cut, ink and wash (shuimo dong huapian) and folded paper” (lent, 2000). Another example being India that uses “extremely rich figurative, pictorial and colourist tradition of the country” (lent, 2000). Additionally, in Western society, the main representation and prime example of animation is Disney using a cartoon style. Furthered more, Japan’s style is strongly influenced by manga and adoptions from around the world. This style is used to create many animation works, from kids cartoons to doomsday fantasies and sex, with a notion of openness that China and many other Asian countries do not accept, and have gone as far as to ban Japanese Anime (lent, 2000).
All these art forms create animations that don’t just serve the single purpose of entertainment, instead, they can be a lot more complex serving a financial, political, cultural, moral, and educational purpose creating prosperity. China, Vietnam, the Philippines and Japan use anime as an instrument of political power and control, manipulating stories to carry political messages and bureaucratic goals such as, promoting campaigns or “exposing enemies of the state” (lent, 2000).
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There has also been a significant amount of economic gain within Asia through work-for-hire and co-production arrangements that bring in foreign money. Theme parks such as Disneyland have been an extravagant tourist attraction and investment (lent, 2000). It has also been extremely important within the Asian societies to ensure animations stay true to their rich cultural heritage, religious beliefs, morals and folkloric tales (lent, 2000). Such as in Princess Mononoke (Miyazaki, 2006), the usage of historical and natural design stays true to the Japanese culture, from the clothes they wore and hairstyles to the arrows and swords used. This creates a truly spectacular and an excellent display of Japanese culture. Along with cultural heritage, these animations must also contain an educational message or purpose, this is extremely important in China. Princess Mononoke (Miyazaki, 2006) contains many moral and education messages, a few being nature is extremely important and we need to live as one for the world to be a better place. That there isn’t always the black and white, good vs evil, this is displayed through Lady Eboshi and her compassion for the outcasts of society and her aim to help them live a more fruitful existence. However, her methods of achieving her goals were questionable. Also present are feminist themes which are represented through Lady Eboshi, the women of Iron town and Princess Mononoke. These women are strong and independent, displaying these strengths in multiple forms throughout the film.
ReplyDeleteOverall, animation in Asian societies is an extremely important mass pop culture that becomes more significant every day. Cultural heritage being more of a concern in China than its neighbouring countries, whereas Japan has completely immersed itself in anime, merging culture and animation. These animations benefit economies and contain important messages that aim to influence political and cultural views while providing entertainment and education. The film Princess Mononoke is an example of this and a true picture of extraordinary animation.
References:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 01 September, 2017, from http://tlweb.latrobe.edu.au/humanities/screeningthepast/firstrelease/fr1100/jlfr11c.htm
Miyazaki, H. (Director). (2006). Princess Mononoke [Motion picture]. Tokyo: Studio Ghibli Productions.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl's Moving Castle. Hampshire: Palgrave/ Macmillan.
Question 1: What is the ‘shojo’ and how does it often function in anime?
ReplyDeleteQuestion 4: Does anime confront social issues? Gender roles in Princess Mononoke.
Shojo [shoujo] is most often defined as ‘girl’ but more accurately translated as ‘young woman’. The first appearance of shojo magazines was in 1903 and this manga was based upon romance, containing little adventure or action (Seba, 2014). The main mechanism designed for young girls, pre-Second World War, had been shojo literary magazines and novels. The function of this material reinforced prevailing notions of proper feminine roles and characteristics in Japanese society, which was extremely confining (Mazer, 2014).
Shojo literature seemingly supported the taboo role of girls and women in the broader society, but as time advanced it also expressed rebellion against it (Mazer, 2014). Author Frederik Schodt (1983) proclaimed that as World War ll progressed, comics regarded as frivolous began to disappear. Post-Second World War [1946], women in Japan were able to participate in politics, slowly enhancing the rights of women and feminism within Japanese society. This turnabout impacted on anime, namely shojo manga, defying male domination and female submission (Mazur,2014). Meiji University Professor, Yukari Fujimoto (2000) wrote that the Gulf War in the 1990’s influenced the development of female characters that fought to protect the destiny of a community. Examples of such characters are Yuri Suzuki from the 1995 shojo manga Red River, Sarasa from the 1992 anime series Basara, and more notably Princess Mononoke in the award winning Hayao Miyazaki’s 1997 film.
Miyazaki is well known for creating young females who are unquestionably shojo in terms of their age and overall appearance. However, where the average shojo is presented as passive, Miyazaki’s heroines are active, brave and inquisitive; “youths with shojo masks” (Cavallaro, 2006). His female characters are not objectified or overly sexualized but complex and independent as his male characters, or even more so (Schellhase, 2014).
Princess Mononoke is set in the Muromachi Period (1392-1573) and focuses largely on the conflict between man and nature. Irontown is a small settlement within the film where wives, daughters, and liberated prostitutes serve in the workforce alongside the men. The town is led by the revolutionist, Lady Eboshi, who despite her destruction of the forest is beloved by her people for giving them a second chance, whether they were natives, outcasts, former prostitutes or lepers (Shea, 2012). Miyazaki created Lady Eboshi to be composed, mature, and kind-hearted without being weak or indulgent. Throughout the film the women in Irontown are given more power and opinions over the men. The men are mocked as useless and incapable by the women – “even if you’d been a woman you’d still be an idiot” (Miyazaki, 1997). Furthermore, Eboshi not only gives the women the guns for use but leaves them in charge of Irontown when she leaves. Having a woman as the leader of a stronghold and the women within the community equal, or seemingly more powerful, to the men shows Miyazaki’s view on feminism.
Miyazaki confronts many other social issues within his works such as environmental problems and pacifism, but he is well known for steering clear of conventional portrayals of female beauty. In his memoirs (1996) he explains how his artistic vision is to create a vision of beauty and goodness that presents a real alternative to the frantic, debased, consumerist, pornographic, isolating entertainment world many Japanese teens inhabit. Miyazaki is one of many who use anime as their platform to voice the social injustices within not only Japan, but the world.
References:
ReplyDeleteCavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.
Fujimoto, Y. (2000). Shōjo Manga Damashī Genzai o Utsusu Shōjo Manga Kanzen Gaido. Japan: Chikuma Shobo.
Mazer, D. (2014). Comics: A Global History. Early Shojo Manga. Retrieved on 21 September from http://www.danmazurcomics.com/2014/02/28/comics-a-global-history-early-shojo-manga/
Miyazaki, H. (1996). Starting Point 1979-1996. Hayao Miyazaki’s Memoir. Japan: VIZ Media LLC.
Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Prodictions.
Schellhase, P. (2014). The Conservative Vision of Hayao Miyazaki. Retrieved on 22 September 2017 from http://www.theimaginativeconservative.org/2014/11/conservative-vision-hayao-miyazaki.html
Schodt, F. (1983). Manga! Manga! The World of Japanese Comics. Japan: Kodansha.
Seba. (2014). What is Shojo? Shojo and everything you need to know. Retrieved on 21 September 2017 from https://www.jappleng.com/culture/articles/anime-manga/117/what-is-shoujo-shojo-genre-anime
Shea, J. (2012). Analysis: Princess Mononoke. Retrieved on 22 September 2017 from http://exploringbelievability.blogspot.co.nz/2012/01/analysis-princess-mononoke.html
2) According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing Japan and China)?
ReplyDeleteAccording to Lent (2000), the animation was fitted to Asian societies and their mass media over the years, and there are four aspects influencing Asian societies, namely from political, economic and cultural perspectives as well as a symbiotic relationship between the cartoons and Asian's mass media. From a political perspective, animation has achieved governmental and bureaucratic goals (Lent, 2000). For example, in China, most filmed cartoons emphasised ethic morals like the attitude of wholehearted service towards other people, promoted campaigns and exposed enemies (Lent, 2000). In Vietnam, at the same time, the cartoons carried wartime themes which portrayed the main characters came across their enemies and managed to defeat the evil enemies by themselves or together with their companions (Lent, 2000). However, in the Philippines, the advanced animation was used for propagandising for the presidency and its favourite projects (Lent, 2000). In terms of economic aspects, Lent (2000) notes that economic advantages of animation were recognised when the enticement of foreign studios and their work-for-hire as well as co-production schemes brought in foreign money, especially in Korea, Singapore and Hong Kong. Take Hong Kong as an example, Hong Kong government signed an agreement with Disney to create a Hong Kong Disneyland theme park, which was predicted to promote tourism, provide thousands of low-skill positions and generate a net economic benefit (Lent, 2000). Culturally, through using indigenous artistic styles and techniques, filmed cartoons was fitted and moulded in Asian culture and plots based on Asian literary, religious or folkloric stories were also localised (Lent, 2000). Lent (2000) also points out that animation and other mass media in Asia have a symbiotic relationship. In other words, Asians produced different types of media based on the original filmed cartoons. In Japan, for instance, manga and anime feed off each other, and the main characters in printed cartoons are created on the screen in India, Malaysia, the Philippines and Indonesia (Lent, 2000). In addition, in Hong Kong and Taiwan, live action films and television drama serials are evolved into Japanese anime and musicians from Hong Kong also write and sing Cantonese versions of anime theme songs (Lent, 2000).
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As far as comparisons between Japanese and Chinese animation are concerned, Lent (2000) & Napier (2005) claim that early animation in Asia was the prevalence of a western influence and foreign works like Disney inspired most animators both in Japan and China. In China, even during the times of Mao, foreign works were always imitated and also in Japan, Japan's pioneer animators and today's Japanese animators are strongly aware of American animation (Lent, 2000 & Napier, 2005). However, Chinese animators insisted on adapting only the elements of foreign animation which fit Chinese culture and they never favoured full adoption (Lent, 2000). That is to say, a storyline of a Chinese animated film should be purely based on real Chinese traditions and stories, consistent with Chinese sensibility and sense of humour (Lent, 2000). Additionally, the films not only need to bring pleasure and sense of humour but also need to be "educational, technically sound using characters with human traits and varied in subject matter expressing a national character and the originality of Chinese culture" (Lent, 2000, p.3). Compared with Chinese animated films, postwar Japanese animation has tended to go in a very different direction not only in terms of its adult orientation and more complicated plots but also in its overall structure (Napier, 2005). Napier (2005) also points out that for most Japanese consumers of animated films, their culture is not only based on a purely Japanese culture, but they are equally interested in and affected by western culture.
ReplyDeleteIn conclusion, the animation plays a significant role in Asia and it can also help the film and animation industry of Asian countries develop well, especially in political, economic and cultural aspects as well as the symbiotic relationship between the cartoons and other mass media. Moreover, foreign works like Disney not only can influence Japan and China but can also inspire Japanese and Chinese animators for creating culturally specific storylines of animation.
References:
Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved from AnimeResearch.com
Napier, S. (2005). Anime: from Akria to Howl's Moving Castle. Hampshire: Palgrave/ Macmillan.
Hi Rachel,
DeleteI really enjoyed your answer for this question. It is true that many Asian countries used - and to this day still use - anime as way of voicing political stances. Though many anime is influenced by Western purposes there are many that are structured towards their own culture too. Hayao Miyazaki is an example of this with his work Princess Mononoke. The setting of his anime was in the Muromachi Period, a time in Japan when war and contention between villages occurred. Again, Miyazaki in this case supports your statement of Asian countries using anime as a political platform but it also disagrees with your view of the anime being western influenced.
This idea can be contradicted as Miyazaki's films are in line with Disney, but I believe he represents Japan and other social issues such as the representation of shojo in a Japanese manner.
Excellent answer, Rachel. A good grasp of the commentaries, thoughtful and well referenced. Most interesting is how animation is used for political and ideological purposes.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteWhat is the ‘shojo’ and how does it often function in anime?
ReplyDelete"Shojo" (少女), which is often translated as "young girl," is the female counterpart to shonen, and anime and manga of this type are aimed at girls between the ages of ten and eighteen." (Eisenbeis, 2014). Although Princess Mononoke fits under the Shojo theme, unlike most it does not have a female character as its main protagonist. Instead we are guided through the eyes of a young boy, whose views have not been jaded by society and are given a different perspective to the roles of women. "According to Tamae Prindle, “What fascinates the Japanese is that the shoujo nestle in a shallow lacuna between adulthood and childhood, power and powerlessness, awareness and innocence as well as masculinity and femininity” (Cavallaro, 2006). What Cavallaro describes is embodied in Mizayaki's female characters like Princess Mononoke and Lady Eboshi. He creates two strong female characters, one the oposite of the other but also similar in how they are fighting for what they believe is right, for their people and their home. Miyazaki gives girls an insight to how women can be strong and take on a leadership role. What separates this film from the rest is that it confronts social issues regarding females roles in society instead of focusing on romance and relationships like many shojo works. Instead, Mizayaki have these characters assume what the majority of society may see as the typical male hero type. They are fearless, driven, skilled and intelligent fighters who will stop at nothing to protect the innocent.
References:
Cavallaro, D. (2006). The Animé Art of Hayao Miyazaki. Jefferson, NC: McFarland, p.11.
Eisenbeis, R. (2014). How To Identify The Basic Types Of Anime And Manga. Kotaku Australia. Retrieved from https://www.kotaku.com.au/2014/03/how-to-identify-the-basic-types-of-anime-and-manga/