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Week 7

1. King (2010) describes Horror as being defined through three basic elements. Explain, using references, what these three elements are. Think of a horror story you’ve read/watched/heard that makes use of all three of these elements and show how King’s definition is at play in that narrative.

According to King (2010), there are some who think fear is of no value other than simply stimulating human peripheral nerves, while others who like and enjoy horror genres may be considered abnormal. Horror speaks bluntly of symbolic things that we fear to talk about, and thus, through books or movies, we indirectly contact these elements and use them as a tool to infinitely unfold the world of our imagination which previously may have been closed. He states that Horror is a useful being that gives us the opportunity to exercise the emotions they continuously demand.

“Monstrosity fascinates us because it appeals to the conservative Republican in a three-piece suit who resides within all of us. We love and need the concept of monstrosity because it is a reaffirmation of the order we all crave as human beings…and let me further suggest that it is not the physical or mental aberration in itself which horrifies us, but rather the lack of order which these aberrations seem to imply.” (Danse Macabre, 1981 p.50)

The research on fear is vast. According to psychologist James Gere’s Fear Survey Schedule, what people are afraid of is “war, snakes, futures, test failures, presentations in front of people, crimes…..” The reason we feel fear stems from a particular memory of an individual or a natural desire to avoid pain, distress, or suffering instinctively. However, unlike the fear of certain events with obvious risk factors, such as the fear of heights which can be described as logical as it is in human nature to fear falling and being hurt. While we sometimes feel that something is difficult to explain and ‘creepy’ although it is not scary, which is often things such as the paranormal or supernatural.

Horror novelist Stephen King classified these horrors into three categories. Specifically things classified as a subgenre of horror and refers to psychological horror.

The first category is ‘Revulsion’ (Gross-out), an emotion linked to the instinctive feeling of disgust toward an occurrence that may be considered unsanitary or unnatural to the highest degree. It could be a scene in which pus or mucus is exposed in sometype of living creature, or fungi that covers the whole body. For myself, the most memorable scene in my head is the birth scene in “Alien”.

Seth Grahame-Smith on the 'viciousness' of the Stephen King's IT reboot

Secondly is ‘Horror’. Horror refers to huge events that humans do not usually experience and have little to absolute no power over. Examples of this can be the Cthulhu myth, or an apocalyptic event such as a Zombie epidemic or a Nuclear war.

Third and finally there is ‘Terror’. King(2010) said Terror is the most sophisticated horror, which refers to an unpleasant feeling in situations where we don’t know if you are safe or unsafe. Often this comes from a lack of understanding about the situation one might be in along with little knowledge as to deal with a certain situation.

So then where do we draw the lines between these ambiguities and uncertainties?

Obviously, it can’t specifically be called dangerous due to our lack of knowledge during such a situation, but when it comes to dealing with something that is not inherently safe or unsafe, our human brain becomes confused in judging its level of harm, which in turn leads to an unpleasant and creepy emotion.

The best examples of uncertainty are the clowns and wearable masks that many fear. Since the mask temporarily hides the face that reveals human emotions and intentions, it has the effect of isolating the object from the most basic social communication. In other words, because it blocks the primary basis for judging whether there is any expression under the mask or whether it is a harmful person or not, the ambiguity of the object is amplified, and confusion and fear of the unknown as well as uncertainty is expressed. In King’s work, Terror brings fear to the audience by using mental factors such as guilt, trauma, doubt, and paranoia of the protagonist. Also, it has the characteristic which many symbols that indirectly show the psychological state of the protagonist appear throughout the work.

This film best expresses the gloomy and terrorist atmosphere of <Pet Sematary 2019>.

Reference

Stephen King’s 3 Levels of Horror. Regal Reel. (2019, August 27). https://www.regmovies.com/static/en/us/blog/stephen-king-3-levels-of-horror.

Wikimedia Foundation. (2020, September). Pet Sematary. Wikipedia. https://en.wikipedia.org/wiki/Pet_Sematary.

King, S. (1981). Danse Macabre.
Vsauce. (2013). Why Are Things Creepy?. https://www.youtube.com/watch?v=PEikGKDVsCc

Week 6

What is the philosophy of cosmicism and how is it used to convey a sense of dread in both The Shadow Over Innsmouth and The Colour out of Space?

Cosmicism is a philosophical view symbolizing cosmic fear, which refers to the overwhelming despair and fear of space, disaster, and transcendental God, which appear in places like the unknown, deep-sea, and cosmic world that we have not yet recognized. Even in Lovecraft’s novel, the theme is the fear of extraterrestrial species with secrets that give us the mystery of the universe that humans cannot know or fear, which can be seen as Cosmicism. Cosmic horror is a sub-genre of horror that utilizes Cosmism. Cosmicism is based on fear, which is told with important feelings in myths and religions. These Cosmic horror are written on the subject of human fear and end nihilism in a dystopian atmosphere. Especially easily seen around us, “Alien” and “Budbox” and “The Mist” are well-known cosmic-themed films in which humans are brutally attacked and killed by unknown alien species and supernatural beings.

Lovecraft said this in his essay book. It is a sentence that reflects Lovecraft’s opinion of fear. To describe Lovecraft’s philosophy of work in one word, it is Cosmicism. The fear expressed in his novel has a distinct element from the visual and auditory fear revealed in the general work. The fear of unknowns, vast universes, or beings that cannot be seen, heard, or felt, is revealed in the work. The images and moods of these horror descriptions serve as a tool to express his unique sense of subject matter very well. Cosmicism is a philosophical view of fear.

Lovecraft’s creation, Cthulhu, also sleeps deep in the sea, and Dagon s also a monster living in the sea and his subordinate species, respectively. In the West, people are disgusted by marine animals, and in the case of deep-sea creatures, they are more disparate in appearance.

The outward grandeur or creepy external portrayal of the extraterrestrial life, Old One, and Shogos or architecture can be frightening.

There could be a violent situation and a primal fear of death being slaughtered by them. However, the theme of “human beings are very insignificant” in the absolute ancient alien civilization is a typical characteristic of Lovecraft’s Cosmic Horror. This is quite out of the ordinary plot.

The horror monster shown in the general myth is the object of Oedipus overcoming. However, the monster in Cosmic Horror is like unknown mother nature that humans cannot resist.

The distinction between traditional cosmic horror is that the genre deals with cosmicism, or unknown fear, and cosmic fear. This sense of subject sets the plot apart. Thus, in general, works of the Cosmic Horror genre are tragic. In particular, Lovecraft’s unique horror philosophy is contained in “Shadow over Innsmouth”. Human beings are weak and cannot solve cases in the climax. Experience the greatest fear in the climax and fall into despair. As a result, many works face tragedy at the end of the play or merge with fear, as Nietzsche said.

Reference

Stableford, B. (2006). The cosmic horror. Icons of Horror and the Supernatural: An Encyclopedia of Our Worst Nightmares

Cosmicism. (n.d.). Retrieved September 06, 2020, from https://en.wiktionary.org/wiki/cosmicism

The H.P. Lovecraft Archive. https://www.hplovecraft.com/.

Week 5

What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaā ?
It is the most remarkable result of Hayao Miyazaki’s macroscopic stories, and a work that perfectly represents his ideas. This is considered one of the best works in animation history. There are also dramatic elements of the main character’s internal conflict, mental growth, awakening to the world surrounding him, and the nature of adventure elements that venture as they leave west to solve their curses. It is an animation that contains various discourse under the big ecological theme of symbiosis between nature and human beings.

Nausicaa is the only person in the film, “Nausicaä of the Valley of the Wind”, who can represent both human and natural positions. She strives for human survival, but on the other hand, she also struggles to tell the truth of nature and bring about coexistence. It was drawn in such an ideal way. In this regard, “Nausicaä of the Valley of the Wind” withholds a strong comparison to “Princess Mononoke”.

In “Princess Mononoke”, there is no one like Nausicaa, who is a perfect idealist that represents everyone’s position. Ashitaka is a human being who can communicate with animals, but as a result, he has failed to obtain consent from the villagers for his view of nature.

San is a person who grew up with wolves in nature but was not trusted by all the members of nature in “Princess Mononoke”. A herd of wild boars and their chief, Okkoto-nushi, represent the idea that San was not trusted. Unlike the nature of “Nausicaä of the Valley of the Wind”, nature in “Princess Mononoke” is portrayed as something that can act exclusively at any time for survival.

Humans can’t unconditionally define themselves as absolute evils due to the construction of an ideal society that returns by destroying nature. This is a rare sight in the world of Nausicaa. Alternatively, the pattern of the ending is different. With Ashitaka’s efforts to somehow stop the fight, San becomes a little closer to humans, and Eboshi admits to her own mistakes and vows to make a better village. That’s why the problem-solving method, such as taking a slow step forward rather than solving the dramatic problems that Nausicaä’s sacrifice brings, was not only more realistic, but also ignited the possibility of continued development in the future.

Week 4

1. What was the cultural impact of Akira (1988), and why does it occupy a key place in the canon of anime greats?

<Akira> is considered one of the most influential SF animations of all time. Akira is even mentioned as the most important work of the time in the history of Japanese animation. It has become a novelty of the cyber funk genre and is widely popular throughout Japan and internationally.

similar composition to the production <Akira>

Tetsuo is a monster who has gained overwhelming power after an incident. He elicits a sociological imagination of the ambivalent attributes of modern civilization of science and technology, especially of self-destructive power. Through this, we can say that the belief in “development” and “progress” related to science and technology is an empty hole in optimism about technologically civilized society.

If Tetsuo’s superpowers were to be associated with the mythical story of Prometheus, we are able to relate this to the concept of ‘fire’. Prometheus is the most humanized god who brought fire to the human world, and he is later punished severely for his actions by Zeus. The issue that should be noted in this myth is the nature of fire in which he gifted to humanity. Fire in this myth is expected to be controlled under the power of Zeus, and human interest in fire is considered taboo. Therefore, Prometheus’ outlandish act of stealing fire and passing it on to humankind is observed to be a challenge to the gods, before it is seen as compassion towards human beings. It symbolizes the deadly nature of human desire to multiply infinitely towards divine tools.

Based on the similarity with Prometheus, I would like to interpret it as “Tetsuo,” who stole technology in a near-future. The tragic end of ‘Tetsuo’ is a punishment for self-cultivated ambitions, and also a destructive overthrow of social desires that have been the foundation of these self-cultivated desires.

It can be said that the main character, Tetsuo, declared the end of the Homo sapiens era in a new way. It refers to Homo sapiens who possess the knowledge on how to use tools as a means to supplement intrinsic human abilities. It also contains the narcissistic self-awareness of mankind living as the dominant species of earth. However, it is no doubt that the human body and spirit, as well as human to human network of relationships, are subordinate to technological power today when what was considered a technological tool, began to enter the human interior. Here, we use Akira to illustrate the reversal of the situation in which humans are equipped to the outcome of science and technology. Specifically, after describing a technological civilization that cannot be overcome by relying on natural human power, it shows a situation in which individuals cannot resist such an environment. The explosion of ‘Tetsuo’ makes us reflect very profoundly on the human excesses that have become the driving force. Within the direction and speed of the development of science and technology, it indicates that there is a latent instability factor that the present civilization has not realized.

References

Mountfort, P. (2020). Pop genres anime 1 Akira [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Shin, D. (n.d.). 재패니메이션의 마스터피스, 를 봐야 하는 이유. Retrieved August 21, 2020, from https://m.post.naver.com/viewer/postView.nhn?volumeNo=9312603

Week 3

How and why have Tintin’s gender and sexuality been question?

The discussion about Tintin’s gender online has been constantly debated. But the absence of female or physically attractive characters in Tintin does not represent his gender or sexuality. There is no complete sexual dimension in Tintin comics, and homosexuality is a clear choice of sexual behavior, and in this book there is no such story at all. In Tintin comics, you can find the same answer as why no character dies. Because it’s a children’s cartoon for children’s readers. Judging gender and his sexual identity in it is a groundless generalization.

When you think about Tintin in the cartoon, there is no description of the main character’s family. There is no sexual description at all. Even him. Someone say they don’t know if it’s a man or a woman. Not getting old, not getting age. But this is also an advantage for readers of different ages and genders to empathize with him. His smooth face is also a device that everyone can assimilate.

Captain Haddok or Professor Calculusis so strong that it is difficult to assimilate.

In the case of Tintin, as the series progresses, there is less clear information about which country the land is from. This can have the effect of making it easier for foreign readers to immerse themselves in the main character when the cartoon is translated into a foreign country.

Hergé intentionally made Tintin avoid the feelings of love, and in the cartoons, there were blondes and young women.

Scenes were mainly used as a means to create intrigue or action.

The lack of heterosexual love in Tintin requires some understanding of the laws of pre-World War II publications in France. At this time, the legal regulations for children and adolescents were severe. The newspaper where Tintin was serialized was also a Catholic newspaper, so it helps us understand why Tintin does not have a sexual dimension.

TinTin was made to be read by teenagers, so the moral purpose is clear.

Brave. He’s up against danger.
be decisive Once you start, you don’t stop.
To be dynamic. have creativity and mechanical talent
Pure. No moral defects.
Be active. Take the initiative.
To stand up to the strong and help the weak.
Clever. Use your wisdom to get through difficulties. Or coaxing or coaxing friends to reach the same goal.
Charming.
He is philanthropists. He saves people from trouble without racial distinction.

Tintin to save a Chinese boy from drowning in the river

According to author Hergé, his brother is the model of Tintin. His hairstyle was the same as his brother’s hairstyle. But since Tintin became famous, my younger brother, who was a career soldier, was so stressed out that he looked like Tintin that he shaved his head. Hergé used it as a model to create a character, so the character that was born was Colonel Spons, the villain

But Tintin’s adventures are part of literature, so how to interpret them is up to the reader.

Reference

Mountfort, P. (2020). Tintin and gender part 1 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Mountfort, P. (2020). Tintin, gender and desire. Journal of Graphic Novels and Comics. https://doi.org/10.1080/21504857.2020.1729829

Week 2

Week 2 Questions – Tintin

What issues do his albums raise in terms of representation of ‘race’, and particularly ethnic and cultural stereotyping?

The legal dispute began in 2007 when Congolese Belgian citizen Bienvenu Mbutu Mondondo filed a lawsuit against the release of the comic book, claiming that the comic book is full of racial demeanor. Mbutu argues that “it makes people think that ‘black people are savage’.”

However, the law ruled, “It is clear that this cartoon came out in 1946, when colonial thinking prevailed, and it was not intended to create a threatening, hostile or contemptuous atmosphere in the plot.”

Mbutu’s lawyer said, “Mbutu will hold on to this case as far as possible,” and said he will appeal.

The first edition of the controversial book, <Tintin in the Congo> was published in 1946 when Congo was under Belgian colonial rule. Cartoons have explicit white supremacist views everywhere, with black natives lying flat behind Tintin and puppies, saying, “White people are very great and spiritual,” or riding on a palanquin. Tintin series portrays not only blacks but also Asian and Native Americans as a silly and barbaric image.

Hergé said in a media interview during his lifetime, “When I drew <Tintin in the Land of the Soviets> and the <Tintin in the Congo>. I was fed the prejudices of the bourgeois society that surrounded me, Africans were great big children andI drew cartoons based on that standard,” he once confessed.

Historical background

After the success of <Tintin in the Land of the Soviets>, Hergé wanted to send Tintin to the United States, but Norbert Wallez, the editor of the far right, instructed Hergé to draw a story that took place in Belgium’s ruled Congo. Wallez believed that Belgium’s colonial rule of the Congo at that time needed to be promoted, as Tintinist Michael Farr Pa pointed out. It was in 1928 when the memory of Belgian King Albert and Queen Elizabeth’s visit to the colony was still vivid. During Leopold’s reign, about 10 million Congolese died in brutal rule, such as cutting off their hands if they failed to meet their quotas. Hergé later sarcastically referred to the Congolese as “our beautiful colony that needs us very much.”

On a comparative note, a parody comic book with such racist characteristics has also been created. South African cartoonist Anton Kannemeyer (1967–) tackled the issue of racial relations and imperialism by using the style of <Tintin in the Congo>. He parodies this with Pappa in Afrika (2010), where Tintin is depicted as a white African resident, white liberal or racist, white imperialist. It satirizes the stereotype that whites are superior, knowledgeable and civilized, while whites are barbaric and stupid.

Reference

Independent Digital News and Media. Herge’s ‘racist’ adventures of Tintin? Not so, court decides. The Independent. https://www.independent.co.uk/news/world/africa/herges-racist-adventures-of-tintin-not-so-court-decides-6894770.html.

Vrielink, J. (2012, May 14). Effort to ban Tintin comic book fails in Belgium | Jogchum Vrielink. The Guardian. https://www.theguardian.com/law/2012/may/14/effort-ban-tintin-congo-fails.

Wikimedia Foundation. Norbert Wallez. Wikipedia. https://en.wikipedia.org/wiki/Norbert_Wallez.

유럽 만화의 아버지 에르제. gabiadesign. (2019, June 3). http://design.gabia.com/wordpress/?p=33469.

화상. 에르제 [Hergé] – 벨기에 만화가. 필라테리아. http://m.blog.daum.net/philook/11247978?np_nil_b=1.

Week 1

How has the academic reception of popular genres changes over time?
What might the value be of studying them?

As for the term ‘genre fiction’, many have pointed out problems for a long time. However, there are still no substitutes and inertial use. Genre fiction refers to a popular novel written with certain rules such as romance novel, mystery novel, martial arts novel, fantasy novel, and science fiction. Originally referred to as romance genre, mystery genre, etc., they were collectively referred to as genre fiction, but it is not known precisely when it began. It is sometimes called a subculture novel or a subgenre. Sometimes it is also used as genre fiction, but it does not mean much to write it as genre literature, as it is almost as if there is no literary form other than a novel. However, genre poetry or genre essay cannot exist, but genre criticism can exist, so it can be called genre literature in a broad sense. As it belongs to a field of popular fiction, there is a perception that it is inferior to the novels called full-scale literature or pure literature. This recognition comes from the side that holds the literary power and is spread throughout the pure literature and in the media. Although it is completely separated from the choice of the public to enjoy literature, this recognition inevitably leads to a tendency to lower genre fiction throughout society. Those who have grasped the existing literary power think of genre fiction as an enemy who still steals the pie in their domain. However, they don’t seem to have the idea of being a colleague to think about the future of publishing together. This is the way to go through with changing perceptions of society as a whole. It may be difficult to take the first step in such a problem until we abandon the old-fashioned feelings that the public enjoys and considers giving pleasure to be sinful, solemnity, and agony.

There is no superiority between genres in literature. It is just that there are good and bad works. And if you read it, everyone knows. Every distinction and discrimination is only a system of knowledge created by discourses. There are many people who have gone out as advanced readers through genre fiction, and there are many examples of becoming famous writers. Your thoughts grow as large as your thoughts, and as long as your thoughts are open, you can accept them. Is it all up to you to think about it?

Moreover, genre fiction, which shows off its more significant influence in the era of cultural industry, is at the root of the discovery of cultural archetypes of each nation and strategies for content creation. Also, the solid foundation of the cultural industry is being combined with various cultural industries such as video and music, thereby maximizing its marketability and helping to secure competitiveness. Shortly, world culture icons will flow in the form of a combination of cultural industries such as video, music, and games, and genre fiction is advantageous in bringing out commerciality as one of the cultural industries. In other words, the study of genre fiction will become an increasingly important keyword in the cultural industry in the future. Therefore, it is more important than anything else to have marketability and competitiveness. In particular, since genre fiction is an essential new growth engine of high added value, strategic research is needed.

Reference

The 17 Most Popular Genres In Fiction – And Why They Matter. (2016, January 15). Retrieved July 30, 2020, from https://www.writerswrite.co.za/the-17-most-popular-genres-in-fiction-and-why-they-matter/

Herold. (2019, January 30). Book Publishing Market Overview for Authors – Statistics & Facts. Retrieved July 30, 2020, from https://bookadreport.com/book-market-overview-authors-statistics-facts/

Tale Foundry. (2016). Are Movies Getting Dumber? — “Genre Fiction vs. Literary Fiction”. https://www. https://www.youtube.com/watch?v=GVCtWZSt58w

Mountfort, P. (2020). AUT Blackboard. Popular Genres ENGL602. Powerpoint Week 1. Retrieved from https://blackboard.aut.ac.nz/webapps/blackboard/content/listContent.jsp?course_id=_96250_1&content_id=_5273101_1&mode=reset