samaahhussain

Can reality tv still be thought of as a genre given the high level of hybridity that exists?

Considering the demand for reality television, and the raging elements it showcases such as comedy, documentary and theatre- the hybridisation is a given. It is also something that viewers have seen a demand in judging from the past decades. According to Hill, 2005, it is eminently difficult to categorise reality TV as a singular genre due to the increasing amount of hybridity it holds.

Reality TV is igh intertextual, making a wide range of references in order to keep the viewers engaged. Wood (2004) highlights how individuals often view the hybridity of television as a corresponding genre. This doesn’t mean that reality TV is not a standing genre of its own but rather an incorporation of many other genres. Furthermore, reality Tv is quite open ended and its hybridity is quite abstract Woods would agree as he states in page 48 ““the increased frequency of hybridized expression such attempts at generic identification are understandable, but they have not proved successful” (Wood, 2004, p. 48).

My stance is that reality Tv should be considered as a genre on it own as it has really evolved into what it is now, due to the different elements and intertextual elements it has incorporated, from the different mediums and genres over the years. The quality of reality Tv is not invalidated due to the hybridization of the genre. In fact, it improves everyday because of the ever growing popularity it brings.

References

Hill, A. (2014). Reality tv. ProQuest Ebook Central https://ebookcentral.proquest.com

Smith, P (lec). (2020). Reality television part 2 [Lecture PowerPoint].

How Real Is Reality TV?

Reality TV is a genre of television that can be defined as non-fictional footage in which situations are unscripted, and based on real time situations. According to Hill (2005), page 41 “reality TV Is a range of popular factual programming”- this essentially means that it is far from orthodox scripted shows. Unscripted actors, hand held cameras and non-professional characters are really what makes reality TV so encaptivating and raw. (Hill, 2005). While highly entertaining, it is also cheaper to produce due to the lack of heavy resources required. However, the validity of the genre is often questioned as viewers tend to question whether reality TV is in fact real or not.

In order to understand the validity of the genre, it is important to mention the roots of origin. Reality TV began in the 1990’s and created a platform ever since for reality TV as an existing genre. After the hike in popularity, the market outreach became wider and the boundaries of ‘reality tv’ was stretched. Essentially, it became a means of profitability for directors as much as entertainment goes. Kilborn (1194) states that audiences today are well aware that reality TV is but a construction and orchestration of a make belief reality that is trending. It has become very fabricated and fictionalised. Shows like Keeping up with the Kardashians and Big Boss often make viewers question the authenticity of the dramatic reactions and scenarios that occur. Kilborn (1994) argues that the viewers of reality TV have come to an understand that what they are watching on the screen is in fact a constructed, distorted reality. They are well aware that it is not an accurate or true depiction of the behaviors that occur under the given environments.

Reality TV producers have mastered the ability to use production techniques in order to manipulate the audiences, and keep them engaged. This is achieved through stimulating drama in between the ‘actors; while also making sure the given reactions are dramatic and over exaggerated. Through editing, sound effects, cinematography techniques, the incorporation of trending elements- the entire situation is dramatized and audiences are once again hooked in, not questioning the ‘reality’ of it all. Accordingly, It is safe to say that reality Tv is both reality and unreality. While there are elements of genuine reactions and events, there are also fabricated moments that are essential for the profitisation and globalisation of the genre. For this reason, it is able to maintain its standing as a lone genre amongst competitors in today’s demanding market.

Furthermore, Smith (2020) states that audiences only have access to the reality that is presented to them, yet not establishing how real that reality may be. It is evident that despite the genre being real or not, there is an uprising and consistent demand for such shows. To argue about the standing of the genre is important however, its overwhelming popularity normally makes that an almost insignificant underlying issue, that viewers for the most part, are not too fussed, so long as they are benefiting through entertainment.

References

Kilborn, R. (1994). How real can you get?: Recent developments in ‘reality’ television. European Journal of Communication 1994 9: 421 DOI: 10.1177/0267323194009004003

Smith, P. (2020). ENGL602 Reality Television [PowerPoint slides]. Blackboard. https://blackboard.aut.ac.nz/

On what grounds does Mountfort (2018) dispute Williams’ (1990) view that the I Ching does not figure in the novel aside from a few oracle consultations?

The man in the High Castle (1962) by Phillip Dick is an alternate history genre novel that is showcasing a world in which Germany and Japan have won World War 2, and Nazi force is dominating the world. The novel features the book of changes which is a chinese dicanation that allows the protagonists to determine their next steps. Mountford (2016) disputes Williams (1990) view that the I ching does not figure in the novel aside from a few oracle consultorios by presenting the argument that the novel’s construction is based on the I Ching as the central plot device rather than the significant philosophy behind it.(Mountfort, 2020).

Philip Dick uses the I Ching in his novel in order to determine the thought process used when protagonists face decision making. This allowed a metaphysical connection, between the protagonists and readers through the existence of the oracle harbors. The harbors build a foundation of philosophy that transcend into endless alternate realities. This is evident in the High Castle as the type of storytelling works its way towards postmodern fiction due to crossing the limits of linear chronological storytelling. Furthermore, Dick uses postmodernism to deconstruct the frameworks through which the audiences understand the now, reality. He creates an intertextuality between the different elements of the novel and the reality with primary reference to I Ching and the ideologies associated with it. Dick states ‘“I used [the I Ching] in The Man in the High Castle because a number of characters used it. In each case when they asked a question, I threw the coins and wrote the hexagram lines they go” (Mountfort, 2020) Dick revolutionalises the I Ching in the context of storytelling. While others like Sylvia Plath have used the oracle, Dick centralised I Ching unlike any other. (Mountfort, 2020)

Dicks heavy reliance on the I Ching limited him from producing a better structure and plot. The philosophies of I Ching made him fall short in the ending, leaving the audiences overwhelmed and incomplete. Personally, I believe his work would not be as popular as it is now if he had not based most of it off I Ching. Dick affirms this statement as he states in an interview “The I Ching failed me at the end of that book, and didn’t help me resolve the ending. That’s why the ending is so unresolved…the I Ching copped out completely, and left me stranded’ (1976).

Mountfort, P. (2016). The I Ching and Philip K. Dick’s the man in the high castle. Science Fiction Studies, 43(2), 287-309. https://doi.org/10.5621/sciefictstud.43.2.0287

Week 9: In what ways can cosphotography be understood as a form of “fan capital”?

To begin with cosphtography is the act of both photography and videoing those who choose to cosplay. The word itself is a portmanteau of the two words, photography and cosplay. It has become a widely known form of art within the 21st century, and fans show their appreciation of cosphtography by taking part in huge festivals that showcase the different characters through cosplay. Cosphotograohy is a means through which cosplayers labor and hardwork are validated by fans. Additionally, thorough cosphotography, cosplayers are given the ability to showcase how dedicated they really are to their chosen fandom. This is similar to creating a social media platform to promote a fandom, only now it is done through cosplay using cosphotography, after which the photos are distributed online through platforms such as fandom pages and message boards, in order to bring popularity to the cosplayer. Mountfort (2018) explains how photography is essential for cosplayers as it draws them attention, giving rise to their cosplay and establishing a ‘fan capital’. Mountfort (2018) elaborates on how cosplayers spend a lot of time, effort and money into their costumes. Therefore, they expect some sort of capital as a token of their dedication, recognition and hardwork.

Cosphotography is not just valuable for the cosplayers but also fans. This is because it is a type of currency that can be traded between cosplayers, fans and photographers. All parties have some sort of financial gain from the act as well as an increase in personal value, and appreciation.To break it down, a ‘fan capital’ is a source of popularity and income to the cosplayer. Fans may request photos which the cosplayers can sell to them.In saying that, gaining a fan capital is not easy, as the cosplayer must be outstanding amongst all else. Cosplayers gain “subcultural capital or a quality of hipness” through each photo that is taken (Hale, 2014, p. 9).In addition, Mountford informs the readers that gathering the correct resources to morph into a character requires a lot of money. This is when cosphotography comes into play, and cosplayers are provided with “private value but fan capital that circulates within wider, largely online networks of exchange operating in the cosphere.” Accordingly, they rise in popularity, and develop a hobby into something more. (Mountfort et al., p. 47, 2018).

Unfortunately for some, there are always negative implications of every form of art. Cosphotography brings into picture- bullying, body shaming and the hyoer sexualisation of female cosplayers within the industry. This has been evident in expos such as Armageddon and Comicon within the years where cosplayers do not return back the following year as they are discouraged or made to feel embarrassed and ‘child like’. Failing to realise the amount of effort and commitment that is put into transforming your body into art. Visual token of course, are the centre of attraction as they can be exchanged within the community and as a result, tensions are never ending.As Mountford mentions, reality Televison series such as cosplay Melee are facing backlash due to creating a competitive environment that is a threat to the heterotpian side of cosplay. The lack of collaboration and the increase in rivalry does not unify the community to collaborate and attain a greater ‘fan capital’. (Mountford, 2018).

Despite the fact that there is a negative aspect to cosmotography due to its exploitative nature and stigmatisation. Cosplayers and fans are able to express themselves freely, they are able to switch from passive consumers to producers of culture, and vice versa. (Mountfort, 2018). These orthodox notions of judgement and sexualisation of cosplayers are quite frankly undeserving. Just like any other ‘academic convention’ cosplayers deserve to be recognised and accredited for their efforts regardless of what their cosplay may be interpreted as. Rightfully so, they should be awarded with a fan capital.

References

Mountfort, P. (2018). Planet cosplay. Intellect Books.

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet Cosplay: Costume Play, Identity and Global Fandom. Blackboard. https://blackboard.aut.ac.nz/

Geczy, A., Mountfort, P., Peirson- Smith, A. (2018). Planet cosplay. United Kingdom: Bristol, United States: Chicago. Interlect

Referring to Mountfort et al. (2018), in what ways is cosplay analogous to citation

Cosplay is made up from the two words ‘costume’ and ‘role play’ or ‘costume’ and ‘play’ (Crawford & Hancock, 2018). Cosplay is defined as the practice of dressing up as a character from a book, film or video game. (Oxford dictionary). A citation on the other hand is the a means through which readers understand that the material in your work is derived from another source. Cosplay is analogous to the citation as it references materials from other texts, by editing the original source to produce an image or identity of one’s own.

Cosplay is a source of citation for fans who use this medium to dress up or transform their bodies into characters from a variety of media texts (Mountfort et al., 2018). A cosplayers body is metaphorically a text that references or cites another text, this is shown in their dress and even behavior (Mountfort et al., 2018). The cosplayer is required to put a lot of effort into researching their chosen text and character, they would like to dress up as. Only then can their cosplay, and performance be successful; through the perfect reference. (Mountfort et al., 2018). It is not limited to the perfect costume but rather the portrayal of the essence of the true character that is being imitated, this includes pose and gesture. For the audience, it is crucial that cosplayers make strong references back to the characters so that the audience are immediately able to identify who they are imitating. Unlike other forms of costumes for different purposes, cosplay is heavily reliant on its source material order to be able to portray the correct image, therefore comparable to citation. (Mountfort et al., 2018).

Additionally, some cosplayers even choose to use mannerisms from that of the character or pretend that they are present within a specific setting from the text that they are citing. This is beneficial to the audience as they now have a much stronger sense of how much research and thought was put into the costume. As well as the fact that they are able to cite materials, while expressing themselves as freely as they would like to be. Moreover, cosplayers are not limited to character adaptations but can also source “parody, pastiche, satire, burlesque, and caricature.” (Mountfort et al., 2018). They have the full freedom to cite multiple materials from a single source in order to enhance the character, or perhaps incorporate the different versions of the character into one, and portray it to the audience. Multimodal texts can also be cited in order to represent a character. Their opportunities to cosplay are limitless, and there is not a set structure or boundaries to follow other than sourcing correctly. For the above reasons, cosplay is analogous to citations.

References

Crawford, G., & Hancock, D. (2018). Urban poachers: Cosplay, playful cultures and the appropriation of urban space. The Journal of Fandom Studies, 6(3), 301-318. https://doi-org.ezproxy.aut.ac.nz/10.1386/jfs.6.3.301_1

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet cosplay: Costume play, identity and global fandom. Intellect. Lamerichs, N. (2011). Stranger than fiction: Fan identity in cosplay. Transformative Works and Cultures, 7(3), 56-72.

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 Stephen King, horror can be broken down into three elements; these include the horror element, the revulsion element, and the terror element. The revulsion element is the act of physically revolting the audience through grotesque animation. Additionally, it is the lowest level of trifecta yet still disturbs the audience, and makes them squirm. To simply sum, it is the scene in which the audience are in a way forced to close their eyes, or peek in order to continue watching. An example of revulsion as a form of horror, is present in the movie saw II, where there is a syringe with an antidote which is hung, in a see through box with fatal poisonous gas, it can only be accessed if one slips their hands through the unavoidable razor lined sleeves. This is gruesome as you can watch the gore of the hands oozing with blood as it hits the blade. The second element of horror is called horror. This is when the audience are exposed to something that seems graphically unbelievable. Accumulating to a state where the audience are shocked out of fear, and sense an inability to comprehend what actually occurred on the screen. An example of this would be the abundance of large creepy crawlies or a scene in which the dead rise from the grave, as seen in Zombieland. The final element of horror is terror. This is the highest form of fear. Viewers are presented with the ability to imagine the horror that has or is yet to take place. The suggestion of the unknown allows the viewers to fill in that space with something that is terrifying to them. Stephen King describes the terror element of horror as ““when you come home and notice everything you own has been taken away and replaced by an exact substitute. It’s when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there’s nothing there…”. An example of this is in the Indian movie raaz in which the woman is in a haunted forest at night, the audience’s immediate reaction, of all the terrifying creatures or possibilities that may cause her harm in her possessed state. King further states mentions how all three elements are necessary to truly embed horror within the viewers hearts, he states “it is not the physical or mental aberration in itself which horrifies us, but the lack of order which these aberrations seem to imply.”

An example of a movie that contains all three elements of horror is, ‘The Sixth Sense’. The movie is about a child psychologist who attempts to help a young boy who has the ability to see the dead, he is mentally traumatised by this ability. The revulsion factor within the film is the scene in which the audience are able to visualise the explicit gorey dead people walking around everywhere. They are able to see what the boy is able to see. The horror element is presented in the scene in which the boy is exposed to a ghost female vomiting vigorously, followed by the revelation that her meal was poisoned by her own mother. The terror element in this movie is slightly different- it is the unsaid realisations that are suggested to the audience. These include the terror of regretting things that an individual never got to carry out due to deep regret, sorrow and emotional trauma. The realisation that it is too late now.

References.

King, S (2020). Danse Macabre. Retrieved from https://cpl.catalogue.library.ns.ca/Record/5394/Excerpt

King, S. (2010) Danse Macabre.

Nellan, D. (2017) Stephen King Breaks Down the Different Levels of Horror https://www.avclub.com/stephen-king-breaks-down-the-different-levels-of-horror-1806112160

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?

The philosophy of cosmicism developed from the materialistic nature of Lovecraft, an american writer. Lovecraft’s works consisted of cosmic horror stories that integrated weird phenomena of alien miscegenation and astral possession. As a result of Lovecraft’s materialistic nature, the philosophy of cosmicism developed. The philosophy is “a fundamental indifference to humanism and a lack of belief in a God, akin to atheism, recognizes death as an inevitability; for at the center of Cosmicism is a belief in a universe indifferent to the concerns of humankind (Price, “Lovecraft’s Artificial Mythology” 248). According to Lovecraft’s fiction, humans are but part of an ongoing cycle, they are not the last species on planet earth. Lovecraft also states “my tales are based on the fundamental premise that common human laws and interests and emotions have no validity or significance in the vast cosmos-at-large” (Joshi, 2007, p. 103).

Lovecraft uses cosmicism to create body horror within the ‘Shadow Over Insmouth’ through ‘the deep ones’. The deep ones are a race of human-fish hybrids that are stripped of their humanity, until they essentially look like fish. They are referred to as the other, following the interbreeding with them. The characteristics of the deep ones include the ability of being immortal. Their features are repulsive with bulging eyes. Reyes describes body horror as “fictional representation of the body exceeding itself or falling apart, either opening up or being altered past the point where it would be recognised by normative understandings of human corporeality.” (Reyes, 2014) The narrator as well as protagonist shares family ties with the ‘deep ones’ which boggles his mind, unable to come to terms with his bond to the ‘other’, resulting in his insanity. (Snyder,2017) Accordingly, cosmiccm is depicted through the protagonist as well as the readers, who experience a feeling of dread as the protagonist despises his transformation into the ‘other’. He begins to question who the other really is, and whether he has been the other all along. The unfathomable is something the readers now have to fathom, they are filled with apprehension when realising they are one with extra terrestrial and gruesome creatures. Once again, Lovecraft makes readers aware of the unknown and the endless unknown creatures, and dread that the unknown brings.

The purpose of cosmicism is to reinforce dread and terror that already exists according to the laws of science. Lovecraft didn’t write supernatural horror as he believed that the cosmos within science was terrifying enough. The Color Out of Space uses cosmicism through hinting at signs and images of death and the unknown. Within ‘The Color Out of Space’ the fate of the patriarch of the Gardner family suggests an outcome worse than the fear of death; the fear of the unknown. (Davis, 2018). The fear of the unknown is exhibited by the meteorite that landed in Arkham, in which residents are completely unaware of its existence or purpose, depicting a force or entity from the unknown; outside the earth. Human beings have limited understanding of the cosmos evidence for the insignificant place we hold in the grand scheme of the universe (Stableford, 2007). The overwhelmingly colorful appearance of the meteor causes destruction through environmental mutations, and feeds off the energy of living things, eventually leading the members of the Gardner family insane to the point of perishing. This sort of event derives from the philosophy of cosmicism in which there is a suggestion that the universes outside of earth contain far more superior entities that humans can not fathom, such as the meteorite. The implementation of colors beseech a hostile cosmic force that is extremely difficult to comprehend on a human-level, thus the first response it is met with is far from fascination, and awe but rather a sense of fear and dread of the oblivion, ultimately resulting in insanity. (Slaten, 2016). This event perfectly sums up feelings of dread and terror, as one tends to feel substantially insignificant in comparison to a universe filled with unknowns that we have no knowledge of.

The fear of the unknown is a recurring theme that Lovecraft uses within his works. His philosophy of cosmicism is used within ‘The Shadow Over Innsmouth’ and ‘The Color Out of Space In order to portray the unknown inevitabilities of the universes, while ingraining terror and dread within the hearts of readers.

References

Lovecraft, H. P. (1927). The color out of space.

Jones, N. (2020). Lovecraftian Horror Video Lecture. Retrieved from AUT Blackboard.

Lovecraft, H. P. (1936). The shadow over innsmouth.

Reyes, X. (2014). Body Gothic: Corporeal Transgression in Contemporary Literature and Horror Film. University of Wales Press.

Wikipedia. (n.d.). The shadow over innsmouth. Retrieved october 5, 2020, from https://en.wikipedia.org/wiki/The_Shadow_over_Innsmouth

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

Shojo is a manga that has a young teenage girl target demographic; young girls who are transitioning from adolescence to adulthood, typically aged 12 to 13. Cavallaro describes shōjo as “nestled between adulthood and childhood” (2006).The term literally defines a ‘young woman’. According to Oxford Lexico (2020), Shojo is “A genre of Japanese comics and animated films aimed primarily at a young female audience, typically characterized by a focus on personal and romantic relationships”. Shojo manga doesn’t adhere to a fixed genre however, it utilises a number of narrative styles inclusive of sci-fi, action, horror etc with the prime focus being on the romantic relationships present within them, under a magic filled dreamy setting. Additionally, another way to look at shojo anime or manga is by understanding that while the demographic is appealing to young girls, the viewers are not necessarily just females as it can appeal to male audiences. In hindsight, shoujo anime explores multiple ideas of innocence, coming of age, femininity and masculinity as well as many other ideologies. According to Susan Napier ‘shoujo characters could embody the potential for unfettered change.”

Shojo anime usually has female leads, and a romantic plotline that amplifies the protagonists inner growth.The imagery used within shojo incorporates not only conventional female images but also aspects of purity, innocence, vulnerability, virginity, and romantic nostalgia- usually “contrasting it with themes of vulgarity and sexuality”. (Berndt, 2019). Furthermore, shojo within anime allows young girls to maneuver through the many struggles they may encounter within the pre-teen ages. Aspects such as finding oneself, adapting to the new changes in their bodies, building strong personal and interpersonal relationships, under a romantic light, these issues have been prevalent within shojo anime, and have provided encouragement to young girls. (Mesuda, 2015).

The creation of shojo started to progress during the pre-war era in which men who were influenced by a male dominated government began to write articles. The Meiji Restoration period, following 1898 called for the westernisation of Japan as the country forced gender segregation through dictating and implementing strict dress codes which allowed Japanese Men to wear westernised clothing whereby Women were restricted to the traditional Japanese Meiji civil code. without room for discussion. The code enforced Women to carry out orthodox roles such as living life as an obedient wife and exceptional mother, limiting their freedoms, and giving absolutely no right to career choices amongst society. It is interesting to note that, although heterosexuality was something that was a norm in Japan during the time, so was intimate relationships between girls in an all girls school. Sasaki (2013) makes readers aware of this by stating how female same sex relationships were“an accepted means of delaying heterosexual experience until girls were old enough for marriage.” ( Sasaki, 2013). Shojo anime uses same sex relationships between girls in their works, in order to break free from an anti-heteronormative view. Examples of this are shown in the series Sasameki Koto and Maria-sama ga Miteru. As Napier (2005) states, shojo “encapsulates both the increasing fluidity of gender identity in contemporary popular culture and the tensions between the sexes that characterize a world in which women’s roles are drastically transforming.”

Additionally, shojo anime favors romance to fighting which is a bit of a juxtaposition; romance isn’t something often associated with girls of such a young age, and comparing romance to fighting or placing them under the same light doesn’t really seem fair. Moreover, shojo anime strongly encouraged young girls’ physical appearance, by using characters that are exceedingly cute and beautiful. Cute young female characters within shojo anime is really what made it so popular. “Nozomi Masuda writes in her chapter: “The Japanese word and concept of kawaii (‘cute’) has become popular in East Asia and Europe as a result of manga and anime and related merchandise. Japan may be a unique country in that kawaii is everywhere in Japan and is loved by people of all ages and genders. The kawaii culture developed alongside shojo (girls’) culture, with shojo manga as the benefactor” (p. 23). Masuda states that the middle Meiji era accounted for a modernised education system in which the classes were segregated in schools. The creation of shojo anime is a byproduct of Japan’s modernisation process in which males and females were perceived as separate target groups.

Shojo anime can be summarised into a unique sense of femininity, in which girls are acknowledged just as much as boys; breaking free from the past patriarchy of Japan. Shojo characters are metaphors for necessary change in the current times, for females. Its purpose as a genre is significant, as there are many points of self and societal reflection that are presented to the viewers. The deeper messages arising from shojo are disguised under a romantic light to disembark from violent tactics that are sometimes used in other forms of anime.

References

Masuda, N. (2015). Shojo manga and its acceptance: What is the power of shojo manga? In Toku, M (Eds.), International perspectives on shojo and shojo manga: The influence of girl culture (23–31). Taylor & Francis Group.

Berndt, J. (2019). Introduction: Shōjo mediations. In Berndt, J., Nagaike, K., & Ogi, F (Eds.), Shōjo across media: Exploring girl practices in contemporary Japan (1-21). Springer International Publishing AG.

Cavallaro, D. (2006). Introduction. In the Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.

Mountfort, P. (2020). Pop genres week 5 anime 2 part 1 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Is anime a high or low cultural medium, according to Susan Napier (2005) and what are some of its subgenres

The 1980’s sparked an uproar in anime, allowing it to become mainstream in Japan due to its growing popularity and boom production. Anime otakus’ would agree that ever since the era of anime uprising, anime no longer identified amongst the niche genres. In fact, it’s previous standing as a low cultural medium promoting fictitious kids cartoons, and trivial themes arise from the stigmatisation and constant comparison of anime, amongst high cultured Japanese forms of art such as Haiku and woodblock prints. In terms of whether anime is a high or low cultural medium, Napier (2005) questions the need to compare anime amongst other high cultured forms of art, her stance questions whether anime should be analysed as a whole, based on it being a social phenomenon and form of entertainment.

Unfortunately, vehement debates encouraged by scholars and anti anime ‘fans’ promote anime as being ‘cartoonish’, and unsophisticated- resulting in it being identified amongst a ‘low’ cultural medium. Unsurprisingly, this opinion is inconsistent and rebutted by Napier (2005), who indicates that anime at present belongs to a ‘popular’ or ‘mass’ culture in Japan in comparison to America, where anime is undervalued, and classified as a sub-genre. Anime’s hybrid take on animation and cinematography, in comparison to traditional japanese forms of art have quite frankly left viewers divided when classifying the genre.

Fortunately, Napier (2005) nails the root of the problem by diving into the history of animation. She explains the reputation of anime has always been undermined and viewed as a low cultural medium, particularly amongst the western world. Anime has been compared with disney due to it being perceived as entertainment for young children, completely disregarding the complexities of themes present within and beyond the animations, failing to recognise its extensive target audiences. She indicates that the Japanese have always used animations post world war two, and its recognition is respected amongst the Japanese society. Its ability to combine many sub genres into one, alongside making inter textual references from western ideologies rightfully so, classes it as a high cultured medium of art.

Moreover, anime follows similar strategies from other forms of art such as novels, paintings, films and music, often combining various sub-genres in many of its works.For example, Akira is one of the many works that combines post-apocalyptic, cyberpunk, thriller, drama, epic, adventure as well as action altogether. The fusion of sub genres to form anime is notable as it often contains sophisticated and exceptional themes that stimulate audiences in a way that regular or older forms of art could not. (Napier 2005). Napier also points out Shojo, being a popular subgenre as it has a strong influence on young females worldwide, promoting female empowerment.

Additionally, the complexity of the themes present within anime makes it far from a ‘low medium’. Naruto is an example of anime that draws on underlying societal issues such as maintaining strong family bonds, and making sure to follow your dreams regardless of the circumstances that one may encounter. Sailor moon also promotes women empowerment and feminism, an ongoing plight of emancipation from gender discrimainton. The complexity of these themes are usually found in ‘high’ cultured texts globally, so to class anime amongst a low culture medium would be conflicting, at the very least.

Napier (2005) reflects on anime as being an ever changing intellectually challenging form of art. The 1990’s evidenced for anime making its appearance in academic discourse due to it being a high form of art in terms of sociology. To classify anime as a low culture medium would be discriminatory due to the complex sub genres, themes, intertextual references and engaging animations, present within many of the works. The stigma around anime roots from comparing anime to western animations that are targeted for a completely different audience. Napier (2005) disagrees with the classifying of anime as a ‘high’ or ‘low’ cultural medium, instead- she evidences the many reasons as to why anime is far more revolutionary.

References

Napier Susan, J. (2005). Anime: From Akira to Howl’s Moving Castle.

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving Castle (pp.15-34). Hampshire: Palgrave/Macmillan.

Denison, R. (2015). Anime: A critical introduction. Bloomsbury Publishing.

Week 3

What gaps are there in Hergé’s representations of women?

Herge’s representation of Women within his works display significant gaps that need to be addressed, in order to understand his stance on Women. The absence of Women within many of his works are painfully noticeable. In the rare occasion that Women are featured, their portrayal is unfavourable, and they are provided with little to no character development.

Female characters within Herge’s works are merely background ornaments, passerbys’ amongst the crowds. Women are often seen carrying out domestic duties such as preparing foods and managing their children. They are wiped off any rights to dialogue or contributions to the storylines. Herge makes Women seem unsubstantial, diminishing and failing to acknowledge their necessity within the setting. Mountfort’s supports the claim by stating “In many of Hergé’s albums there is an almost total absence of female characters, and the only women we do see are background characters who do not speak (Mountfort, 2020).” He further states ‘If Women were present within the story, the portrait was hardly flattering’. (Mountford,2020). This can be seen in Tintin in the Congo, in which a couple of female characters are surprisingly given dialogue yet limiting it to simple hostile phrases. For example, poor Mrs. Wang’ first appears in Lotus weeping over the fate of her mad son and is given three lines of dialogue ([1946] 1983, 29) and a woman is seen upset over her husband being sick within Tintin in the Congo (Mountford, 2012). Herge’s portrayal of Women is misleading, often domesticating them to stereotypical roles with no room for development. Women are portrayed as extensions of their husbands with no agency of their own (Mountfort, 2020).

Although Herge does not directly bash Women, he associates them with inferiority by portraying them as the weaker class whose emotional needs are accommodated by the superior class, Men. This shows a dangerous gap within his representation of Women, as he fails to acknowledge the rise of second wave feminism along with the many social movements during the time of publishing his works. Herge, ignorantly so, failed to understand the struggle and plight for freedom of Women; failing to change his notion of thinking by including more female characters or by representing Women in an equivalent manner to Males. Accordingly, Herge chose matters that he thought were worthy of publishing while completely disregarding the second wave feminist movement (1960’s-1980’s)- his orthodox views on Women being the home maker while Men were portrayed as the saviour, suggests that his primary ideologies were both mysogynistic and chavinistic.

Another gap in Herge’s representation of Women is his need to hypersexualise and display overprotectiveness over Women, within his works. Herge explains his need to eradicate Women from his works through claiming that ‘[w]omen have nothing to do in a world like Tintin’s. I like women far too much to caricature them. And, besides, pretty or not, young or not, women are rarely comic characters’ (Mountfort, 2020, p. 2). Herge’s justification of alienating Women from his works derives from his love towards Women, making it seem as though he is intentionally trying to keep them away from the limelight, in order to savor their innocence from comedic adventures. While Herge may have positive interests, he discloses benevolent sexism rooting from mysogynistic values, which essentially causes more harm than good to the female sex. Herge perpetuates stereotypes that once again reinforce the idea that Women are inferior to Men, drawing a bold line of distinction between the two by shunning one gender, and raising the status of the latter through including them within his works.

It is blatantly obvious that Herge’s representations of Women were prejudiced, he constantly reinforced the statement that Women have no place in the world of Tintin by subjecting them to sexist stereotypes or by completely wiping off their mere existence.

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