1. Reyes (2014), describes Body Horror as being a “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.”
How do The Colour out of Space and Lovecraft’s The Shadow Over Innsmouth make use of this definition to explore themes of the unknown?

Xavier Aldana Reyes introduction descriptor characterization of Body Horror is a exemplarily quintessential to question the nature of subgenre of horror body horror and the exploration of the unknown.

Within determinable narrative dialogue The Shadow over Innsmouth the creatures exhibiting examples of body horror the are the Deep Ones of note.

Body horror, and the fear of the unknown is a predominant theme, and the fear of Shoggoths (archetypally Lovecraftian amphibian monsters) and the Deep Ones.

The open caricature to investigate body horror here is in precepts to understand body horror, whether it be “biological horror” (Cruz, 2012) into the sea of the unknown. 

With several notions under its over-troped expanded umbrella we find body horror’s variations –

“hybrids, metamorphoses, mutations, aberrant sex, and zombification.” (Cruz, 2012)

Throughout the narration of Lovecraft’s short story there is a sense of foreboding for the fear of the known culminating in the encounter with “The Horde” where an example body Horror is presented.. we find the mutation/metamorphosising in particular represented through the main character’s fishlike description.

The discovery of physically describing the horror in definite form of “the Horde” (Lovecraft, 1936)  in chapter IV:
I am not even yet willing to say whether what followed was a hideous actuality or a nightmare hallucination (Lovecraft, 1936)

Further advanced as “Anthropoid” (Lovecraft, 1936)  Lovecraft continues to describe.
Or further to describe the horror of metamorphosed creatures:

“And yet I saw them in a limitless stream. Flopping, chopping croaking bleating – urgine inhumanly through a spectral moonlight in a grotesque, malignant  saraband of fantastical nightmare.” (Lovecraft, 1936)

This spectatorship of Body horror is a common means to evocate discussion within fiction.
Argued by Sue Tait who contents the spectatorship of the fetishization of body horror is through pain and  likened to pornography in horror: 

Pain is fetishized in the ‘‘drive to make visible what is essentially unimaginable’ (Tait, 2008)

For example, he described as having referred to carrying “a persistent strangeness, ” (Lovecraft, 1936) within the “Newburyport Historical Society”, giving a description of monsters.

Where Ronald delineates to define that Body Horror in fiction is biological Horror.
“Body horror and its powers of revulsion can be approached in another way that has not yet been adequately explored in this regard and in most other genres of cinema: the biological.” (Cruz, 2012)

To this end Body Horror is discussed as a means to excite and further the genre in exploration of themes of the unknown and by introduction of its type.

Bibliography
Cruz, R. A. (2012). Mutations and Metamorphoses: Body Horror is Biological Horror. Journal of Popular Film and Television .
Lovecraft, H. P. (1936). The Shadow over Innsmouth. 
Tait, S. (2008). Pornographies of Violence? Internet Spectatorship on Body Horror. Critical Studies in Media Communication, 91-111.

Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?

To delve into an encompassing definition for the organizational nature of anime is not, in procession, comparatively difficult.

Yet, to subtly pinpoint its contextual cultural location of Anime, is a difficult ground to define.

For, we must see in terms of, origins, identity, intellectual analysis, fandom through formal realizing of the and location of its popularity.

In all appearances, it appears that it is managed through origins its creation in japan a significant vehicle, style, and content of modernized  “Japanese culture”.

To recharacterize its origins is considered by being a concept audience  from  “The East“, Indeed, the question remains. Where is its cultural position of Anime? Where is it today?

The direction and subsistence of axis to where such culture is in localisation: where it exists, resides, is interpreted from and further continually manifested.

To this, I argue the cultural location of ideological recognition exists more in the position in the etherealities of a subspace. the location is not to deified cultural tradition or in a geographical sense: in the globalized landscape of its enthused audiences.

Anime as a popular contextual medium by those who (in terms of culture, exported exposition, and said intellectualized ownership) are defined by demographics directly about the set of perceptions held by members of its audience.

The cultural location is found through the definition of its operating fanbase and audience.

Yet yes, an argument exists whereas to – The conclusions the culture is consumed in “The West” reality,  as perused and enjoyed by the most vocal part of an audience is but a social truism.

Indeed, herein is a evoacated notion and a postulated of inherent preconceived privilege.

Anime (as an international cultural phenomenon, and an extension of Manga) was first and foremost has always been a cultural phenomenon grounded within the varying popular subcultures of Japan.

Although  (exampled by the iconic works of Osamu Tezuka notably Astro Boy (Tezuka, 1963) , or to refer or relate its export to the west during Katsuhiro Otomo Akira  (Otomo, 1988)

From these perceptions, from the experienced bizarrity and othering of exposition divined from its origins “The East”( in this case, Japan)  it has been accepted into mainstream culture, Accpeted as apopularized in society is considered socially assimilated by western audiences, in a studied and fascinatingly ornate and homogenized manner.

The fanbase we find represented and appreciate popularly mass-manufactured productual narrative content of capitalism driven delivery to the hungry markets of  “The West” (The U.S. I hold in contention as the most advertised vocal and central audience, and the consumption ) Anime is uniquely both and neither, ‘Western’ and “Eastern/oriental” cultural locality at the same.

The cultural locality of anime is beyond physical definition:  there exists no tradition of ideas when one discusses and analyses the distinction of the accession of a culture of the cultist like fanbase.

A conceptuality where we find no inherent distinction of nationality, gender, ethnicity, yet subscribership of professed fanaticism of fandom towards different renditions of titles and the medium and phenomena of anime in general.

Susan Napier consider one such anime directors the iconic and ineffable Hayao Miyazaki (founder and head figure of the now reverently widely known, famous Studio Ghibli) indeed had some influences from origins of Western literature, specifically European stylizations “A treasure trove of children’s authors”  – (Miyazaki 1995a, p 118) (Cavallaro, 2006)

In which I continue to delineate the argument that Anime, although greatly influenced by narratives from “The West”, has in turn influenced Japanese Anime, in turn, exported back to audiences of The West.

Its cultural locality exists in the appreciated through experiences of a borderless, globalized phenomenon.

The current identity related to origination cannot be defined from the perspectives of locality is not “ownership”.

Through the contextual landscapes in terms of transgeography, we must see mediums as they are and not through generalized topography of tropes.

A cultural phenomenon exists in today’s world to appreciate and respect and not to the market which is most popularly accessed from.

Bibliography

Cavallaro, D. (2006). The Anime Art of Hayao. London: McFarland & Company.

Otomo, K. (Director). (1988). Akira [Motion Picture].

Tezuka, O. (Director). (1963). Astro Boy [Motion Picture].

When it comes to critiquing Herge’s popular magnum opus with all its contextual vulgarities of Othering processed to anything but male Eurocentric centrism’s.

Another facet depicted of Herge’s problematization: the subtle Othering of women in his medium of fiction of Les Aventures de Tintin.

The portrayal of women protagonists in such a canonically widespread (and children’s comic) are often “semi-tragic sexualized objects”. to which such portrayal completely lacking any depiction is either infantilized or characteristically missing from the popular leaven pages of the medium whatsoever.

The iconic exception being here, of course, as Madame Bianca Castafiore (with her position within explored The Castafiore Emerald). her presence  does not excogitate the masculine centred narration vastly found throughout Herge’s medium. And is an embarrassment of note.

To which Herge’s replies reflect the recursive perspective reflects of garnered male privilege a neologism entirely  coined during the formative inception of the comic and reflected in the art form.

The grotesque social oeuvre applied to recent classical postmodern neologism applied as “Tintinology” has paid a careful study and attention to the widespread decadence portrayed through the medium.

A reflection of study, an examination of the early 21^st century of art form and vehicle of commentary and change.

Which brings forth the vicissitudes of the ethereal questions posited: Where are the women?

Why is there a complete lack of formative representation of the female gender? The promotion of gender and feminism during such early moments of the 21^st century? Where society in grand requisition, desperately needed such promotion, during such sexist points of time?

And why (if so characterized) are female characters from the ornate (and quite socially reflective) piece of the tablet so vastly, so poorly represented?

Comparative critics and studied contemporaries of Tintinologism have subsequently recognized the obvious academic discrepancies of Herge and his popular works.  

As a mainstream accessible modern genre carrying flaws, breaking through the assumptions of the adventures of Tintin being a  “timeless” or “a flawless classic” for “all ages” that patrons of its viewership cling unto its belief.

To which Herge himself presently orates his argument:

‘Women 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’.

A conversation recorded by noted modern Tintinologist Numa Sadoul(Sadoul, 2003)

This oeuvre where such anti-egalitarian tropes were acceptable as “social norms” during regressively un-cultured and collectively remembered as indeed classified as  “primitive times”.

Tropes accepted have been, through have a processional re-examination of what is acceptable within his portrayal as “fiction” in a social contextual sense.

Because fiction, in the 20^th century, rose to become in itself (indeed a fact considered true today), a prominent place in society’s path and means of self-reflection, the issue is problematic and (in context of society vastly relevant) more important than appears by the non-tintinologists. A lesson is here to be learned.

A lesson is most necessarily requisite for academic reception to ensure we do not fail to learn from our histories and repeat mistakes of ignorance, prejudice or privilege. Our past is ours,  whether it be othered, socially reprocessed or antiquate unfairly represented – The future should encompass all without fail.

Bibliography

Mountfort, P. (2016). Tintin as Spectacle: The Backstory of a Popular. Auckland: AUT.

Paul Mountfort (2020): ‘Tintin, gender and desire’, Journal of Graphic Novels and Comics, DOI: 10.1080/21504857.2020.1729829

Sadoul, N. (2003). Tintin ET Moi . Flammarion .

During the 21^st century Herge was undeniably an iconic and creative architect of the popular medium of comics.

A figure who seemed to (unwittingly, grossly unintended yet important) attracted and courted controversy in many forms.

His early connection with propaganda was both directly and indirectly manifested through for more than intended reasons.

The first controversy of propagandism we find is through autocratic fascism. – The Rexist party.

There is a social perception perused that during the 1930’s  Herge’s Tintin’s creator Herge became a social acquaintance with a Belgian autocrat: Leon Degrelle.

Leon was considered A contemporary of Hitler, Mussolini of the times (or of the “Blue-Shirts” of British fascists fame). Leon was an ambitious Rexist and an aspiring fascist for fascist representation in Belgium.

But who were The Rexists? Wikipedia further contemporaries into delineating a historical characterized definition:

The Rexist Party (French: Parti Rexiste), or simply Rex, was a far-right Catholic, nationalist, authoritarian and corporatist political party active in Belgium from 1935 until 1945. 

 Léon Degrelle, The Rexist leader, protégé of Hitler, and foreign correspondent of Le Vingtième Siècle, was acquainted with Hergé and sent him “local newspapers in which there were American strip cartoons. That’s how I came across my first comics.” (Hergé, in 1975)

During this time (the mid-1930s), Degrelle became acquainted with the cartoonist Hergé. In a volume published after his death (Tintin mon copain), the Rexist leader claimed that his years of journalism had inspired the creation of The Adventures of Tintin—ignoring Hergé’s statements that the character was based on his brother, Paul Remi.

Degrelle had been shipping Mexican newspapers containing American cartoons to Belgium, and Hergé did admit years later in 1975 that Degrelle deserved credit for introducing him to the comic “strip”.

The contact between them is a cast set in stone in history adding to controversy and taint that will forever foreshadow Herge.

Mountfort continues to eloquently  narrate the fascist connection with Herge:

Hergé’s early familiarity with comics was supplied to him from 1928 by Léon Degrelle, a foreign correspondent for the staunchly Catholic and conservative magazine, Le Petit Vingtième, where Hergé worked. Degrelle went on to found the Rexists, Belgian Fascists, becoming their leader in 1935. Disconcertingly, it was he who “introduc[ed] Hergé to the latest transatlantic developments in the strip cartoon”

(Mountfort, 2016)

However, this is not the full delineation of the scenery depicted or Herge’s traumatic encounters with propaganda and controversy. Second example:

Herge’s own presentation of Fascism and Propaganda within his album of the Adventures of Tinitn.

Propaganda extolled by Herge and his ancient regressive views on society

Later enacted social discussions are ineptly carried out through the medium in regards to social a changing world and changing political ideologies. The ideological stance is blatantly Euro-centric and (if considering the USSR as “eastern” obviously persists in subtleties of imperialist and centrist western propaganda )a s”Russian-phobiasms”

Example of propaganda:  Two portrayed contrasting viewpoints are introduced in Herge’s comic narration. The approaching the critique of Socialism Bolshevism in a revolutionary Russia ( and Early Laisse Faire Capitalism (Tintin en Amérique) is shown with contrasting yet subtle differences.

Within the discourse within Tintin in America,(Herge, 1932) a fair assemssnet is conducted: Social commentary is presently composition of Late Capitalism is arranged in reflected in the discourse.

A measure whereof prejudice.  Where any deviations from the normality of democracy or capitalism are attempted to vilify demonize

Any deviation of the norm is by the masses.

However While the phantasm and spectre Bokshevikism of revolutionary Socialistic Russia is feared by the masses and considerably Othered.

While the grand American experiment of late laisse fair System of Capitalism (in reverence of the genocidal conqueror and “discoverer” Christopher Columbus) is critiqued with different regards, but not feared or Othered to the extent of the dishevel fear mongering visibly appreciated in Tintin and the soviets.

Bibliography

Mountfort, P. (2016). Tintin as Spectacle: The Backstory of a Popular. Auckland: AUT.

Paul Mountfort (2020): ‘Tintin, gender and desire’, Journal of Graphic Novels
and Comics, DOI: 10.1080/21504857.2020.1729829

To study something is to involve oneself further into the process of it’s future creation.

It is for this reason which the artists and creative imagineers to study popular genres.

To consider or entertain the adhere in conception there is a great value for studying popular genres. To consider or entertain the adhere in conception there is indeed a increasing great value for studying popular genres further into a more commercial society.

As popular genres in general have gained increased inexplicably and conceivably support as something serious, concrete pastime in our 21st century, there is increasing value assigned to society for its academic analysis and further critique.

The value to study stories, narratives are useful to the future fledgling artists and wielders of creativity to further society.

To study popular genres is to become more aware of the social mirror profoundly ornately displayed depiction of reality, the issues found and demonstrated shown and discussed of form through mediums of genres and discourse as creators of imaginations.

Popular genres are a means to continue the intrinsically important point to the art of storytelling, and textually advanced practice more than just entertainment and art- as a profession, a vocation for the meek.

Popular genres has become more vindicated and valorised in the eyes of the public masses.

It has become a means to appreciating opinions on a timeline in a vaster accessible form and manner than historical literature of poetry and epics.

The indicated  intrinsic value of studying popular genres a value is more than twofold:

Firstly it allows us to study the incumbent verve of artistic medium of creative fiction in a irrational verve, to reach the sublime symbolical nature that is more than integral part of the collective human character.

Secondly it allows us to further indulge our artistic senses, our minds into intellect to thoughts, perspectives, concepts, ideas and ideologies not considered previously at all.

In a grander contextual thought and expand our horizons to previously inconceivable worlds of socially poignant and presence of forms of concepts readily not available the status quo.

To understand within its obtuse pantheon is to see these words in a individualized socially accessible manner.

To educate oneself and become aware of such worlds with a open mind to critique and pass opinion is becoming more a sacrosanct act.: Such is the collective consciousness of society without barriers, borders or given social bias that study of genres.

They have been accepted in similar means become similarly in tone and context seriously accepted as a way to scrutiny problematized issues and revolutionize further social discourse accessible by anyone willing to challenge the status quo by creation of future content.

For Such mediums to cotninue its agency on the unseen collective mind we have since the inception through genre become taken more seriously as an art form and as a means to allow and celebrated as way to allow critique and perceive changing society issues, motions and views.

To this end, the study of such reflection brings a means to understand and conceive the future.

The Academic reception of popular genres, its study has previously considered as “low art” such as  from a postmodernist stance (hereby such exemplified as Herge’s  iconic characterization as comic series of Tintin) has from a social perspective has collectively matured and more accessible for the masses and students of academia to a complex science and art.

Since the inception formative birth of social’s movements e.g. of modernism (and towards the realization of the new inclusive verve of the postmodern era) the collective reception of academia towards what is popular in society has allowed us to see and pursuit of seeing the world from further repressed or otherwise unheard, voices of semiotically unique perspectives.

Perspectives especially towards the sought viewpoints of unique non biased cultural and genderism in an inclusive manner.

Examples – Negro/indigenous popualr centered narratives – sometimes exemplified as “Afro-Futurism“ or mainstream novels with female protagonists now being accepted into he mainstream as open and lauded accessible norms have gained substantial popularity in society.

Breaking apart from the central ‘white messiah complex’ are growing parts of woke vibrations towards a future vision of society, which genres are leading towards such realization.

They are also as a furthered trend towards a materialistic technological of all things “understood” in society towards the further conceptual trans-humanization of humanity and civilization, as their influence is felt on the pulse of auto-advertised ( , is another reason why they have become serious, academically pertinent and seen and studied.

Popular genres have from historical antiquities have become also more than just mediums. (exemplified such as stylized depiction of ‘comics’ – “low art”, Anime and the novel) they are an easy yet powerful means to evoke in dpeiction the eternal the battle  towards ignorance, prejudice, societal fears and privileges of gender, race and ethnicity.

The modern novel or anime have become an accessible and complex form of social commentary to postulate commentary and new ideas within society en masse.

Such portrayal of society and social issues have become more uniquely archetypical and de-problematised., they follow stream and flow of genres indeed has become mature, grown into human acceptance.

Within the masses audience towards totality in society the future figures as storytelling and push the envelope of opinion and truth from unheard sectors and audiences of popular culture in general.

In the case of the modern Novels we have found a means to allow artistic means and method to critique and inform en-mass that allows individuals to excite and fuel imaginations of the future next generations,  recall with reverence to honor the past, they re-orientate perspective, and educate in possibilities of theoretical perspective , Both concepts concrete and abstract.

Popular genres as the centerpiece of 21st century are, as a example of medium, form of the is now taken very seriously.

While In the case of Japanese art forms such as Anime, Mecha or Manga, we have witnessed a fount of rapid contextual maturity that has occurred in unseen breakneck pace popularized to infect the previously imagined status quo to an unreal place in subspace

A pace and subsapce so externalzied and propogated, to a point where the genre is taken to a serious multi billion dollar industry, respected, accepted and instutitonalzied as presence of stylized art form of a popular genre

Towards the impossible and inconceivable from the past towards the future where all examples uniqueness is s accepted and compositely complexly identified and celebrated.

Furthermore the reception of popular genres has become further acclimatized in position greater audience over time.

The definition of such an market ‘audience’ has grown and matured along with this pilgrigime of genres. An inclusion of all on the gender spectrum’s, ethnicity and sexual orientations towards a communicated vision of a better society.