siddhisharma

Week 12 Question

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

Reality TV today is far from its name, considering the emergence of several of its subgenres that have begun to blur the distinction between authenticity and traditional television programs. Various plots, styles, and situations are crossbred to create hybrid programs in reality TV which confound the attempt to singularise reality TV as a popular genre (Hill, 2005; Wood, 2004). Reality television that ranges from lifestyle to game shows are known as unscripted programs. However the mix and match of such programs also raises the question of whether or not such hybrid televised programs are credible.

The emergence of reality TV was initially concerned with portrayal of ordinary life situations; with time the genre developed subcategories such as factual programming, fictional programming, entertainment, and advertisement (Wood, 2004). Characteristics of each create a distinct world in which events take place; with such differences can the origin of hybridization in reality television be recognised (Wood, 2004). Kilborn (1994) also defines hybridised reality TV as ‘a hybrid mix of presenter talk, verité material, dramatic reconstruction and various forms of audience participation’. The conjuring of real situations accounts for losing details that prove authenticity, and with time this genre has witnessed intense hybrid versions of televised reality (Wood, 2004). It is argued by Wood (2004) that televised reality as a genre have merged traditional subgenres in order to sustain media sensationalism and survive in the transient nature of traditional television. With the change in peaks in television programming, reality TV has transformed into sites of pure entertainment, such as re-enactments, which are dramas based on ‘real’ people, and diversions that show ‘unseen’ footages of occupational and domestic lifestyles of elite or celebrities (Wood, 2004).

Factual programming in modern day reality television has changed from simple broadcast of news, current affairs, and documentaries to name a few, to imaginative portrayals that digress from factual information and rely more on features in event that have the potential to elicit public response and demand (Wood, 2004). Fictional programming consists of characters and a world within its own confines; its events are conjured to mirror reality (Wood, 2004). Entertainment as a hinge has taken over the aforementioned subgenres, and variations in modern reality TV tend to structure around the element of entertainment. Lastly with advertisements, the traditional form of its television are simple 30-60 seconds of marketing a product (Wood, 2004). On the contrary, modern hybridisation has caused a change in the manner of marketing products on air; the birth of infomercials encompass more elements of pleasure and testimonials about the product rather than factual discourse of the product (Wood, 2004).

It would seem futile to attempt to singularise reality television into a definable genre, as we can see multiple origins of its hybridisation that have confounded critics and analysts. Nonetheless reality television remains at the top with other televised programs and would perhaps continue to incorporate elements of reality.

References

Hill, A. (2005). Reality TV: Audiences and popular factual television. Routledge.

Kilborn, R. (1994). ‘How real can you get?’: Recent developments in ‘reality’ television. European Journal of Communication, 9(4), 421-439. doi: 10.1177/0267323194009004003

Wood, B. (2004). A world in retreat: the reconfiguration of hybridity in 20th-century New Zealand television. Media, Culture & Society, 26(1), 45-62.

Week 11 question

1. How real is reality TV?

Reality TV is often questioned for its authenticity. Ranging in subgenres and such as sports, technology, survival, competitions, and social environments to name a few, reality TV is known to be televised around people’s lives. Thanks to media sensationalism, reality TV in the twenty-first century revolves more around dramatized scenarios and footage of participants in apparent ‘structured situations’(Hill, 2005). The emergence of reality tv circa 1950s were subgenres of documentaries, game shows, and crime shows. Until 1980s reality TV remained true to its name before it become a global sensation. In the early 2000s, novel subgenres such as docusoaps, dating shows, and celebrity-like series, as a mixture of American and European cultures, emerged which began to blur the line between the real and the fake. This indistinction led to audiences and critics questioning the popular genre’s credibility.

The factor of authenticity in reality tv lies in its structure and audience perception (Hill, 2005). Key attributes of reality tv include unscripted dialogues between actors, on camera and off camera which is captured through surveillance on sets (Biressi & Nunn, 2005). Much of the situations that are captured live are oftentimes dramatized; simple scenarios such as disagreements between participants are dramatically enhanced with exaggeration of tone and intensity in dialogue delivery (Killborn, 1994). Another factor that contributes to the apparent ‘realness’ is structured environments. Programs such as Big Brother and Temptation Island place participants in simulations in order to test cooperation and compatibility (Bell-Jordan, 2008; Escoffery, 2014). Under the subgenres alike crime, technological, and medical programming, for example Diesel Brothers, Mythbusters, Hoarders to name a few, footages are often authentic as real life issues and challenges are captured and people of the show attempt to solve or apply techniques to approaching an issue (Killborn, 1994; Parton, 2018).

Critics have often approached Reality TV with arguments that probe with foundations of various programming. Bell-Jordan (2008) argues that modern reality TV programmes have become breeding grounds for dispute between participants, which contribute to the apparent display of ‘realness’. More grave than the heightened drama is the representation of struggle and disagreements that occur when participants cohabit; the site of negative situations become a language, or a type of perceived reality for young viewers (Bell-Jordan, 2008; Biressi & Nunn, 2005). Mundane interactions are often over edited or the passing of time in situations are cut short to intense moments, as producers often emphasise that the factor of civility is removed to expose the ‘truth’ of human life under cohabitation (Bell-Jordan, 2008). Audience perception is key possibility throughout modern reality programs as they indirectly invite audience judgment and inference into certain situations that are set up (Killborn, 1994). One example is Crimewatch UK, wherein crime scenes held in public are dramatically heightened to elicit public response; this attribute can also be known as experimentation as actors of the show interact with the oblivious public to witness true and unscripted reactions (Killborn, 1994).

Modern Reality TV is constantly critiqued for its portrayal of over glamorous lives of participants despite the attempt to display ‘real’ scenarios. Moreover, many such programs have become sites of unnecessary disputes that are overtly distressing for viewers, but are still on the run as drama attracts attention from the viewing public.

References

Bell-Jordan, K. E. (2008) Black.White. and a Survivor of The Real World: Constructions of Race on Reality TV. Critical Studies in Media Communication, 25(4), 353-372. doi: 10.1080/15295030802327725

Biressi, A. & Nunn, N. (2005). Real Lives, documentary approaches. In Reality TV: realism and revelation. (pp. 35-58) London: Wallflower.

Escoffery, D. S. (Ed.). (2014). How real is reality TV?: Essays on representation and truth. McFarland.

Hill, A. (2005). Reality TV: Audiences and popular factual television. Routledge.

Kilborn, R. (1994). ‘How real can you get?’: Recent developments in ‘reality’ television. European Journal of Communication, 9(4), 421-439. doi: 10.1177/0267323194009004003

Parton, J. (2018). 8 fakest reality shows. https://screenrant.com/reality-tv-shows-fake-real/

Week 10 Question

2. What distinctions are there between alternate history, postmodern alternate history and uchronie genres?

Under the genre of science fiction as literary subgenres, alternate history, postmodern history and uchronie genres are literary storylines built around the hypothesis of alternate worlds or universes that exist simultaneously. The proposition can be linked to original theories of many world interpretations and universal wavefunction proposed by Hugh Everett (1957); these theories explain the simultaneous existence of all possible states. The subgenres also follow the theory of infinite number of universes proposed by David Deutsch (2011) and a paradox in quantum physics called Schrödinger’s cat put forth by physicist Erwin Schrödinger (1935). In terms of these genres, a certain event in history would take place differently which results in the creation of an alternate timeline of events, temporally and spatially. According to Mountfort (2016), uchronie genres are categorised into three distinctions, those being ‘pure chronie’, ‘plural chronia’ and ‘infinite chronia’; a singular alternate world exists in the first, the second consists of the existence of an alternate world in parallel, and the third is the existence of even, infinite parallel worlds. To readers it is a factor of curiosity wherein alternate possibilities are imagined and questioned as events continue to produce a distinct timeline; in layman’s terms, it is the ‘what if’ factor in literary fiction (Wired, 2011).

Man In The High Castle (MITHC) written by Philip K. Dick is regarded as a classic example of alternate history in literature. In Dick’s work it is considered synchronic rather than diachronic; the storyline is inspired by I Ching, or the Book of Changes, which is an ancient Chinese literary device (Mountfort, 2016). Also regarded as a prime example of the uchronie genre, the storyline of MITHC narrates a world where Nazi Germany and Japan won World War II, and illustrates post 1962 the altered reality of the United States and Pacific West Coast if those were usurped by the Japanese and Atlantic East Coast under German capture (Mountfort, 2016). Characters in I Ching use the oracle book to determine their following courses of action, which implies a new construct of time broken from conventional understanding (Mountfort, 2016). To explain this synchronic perspective observed in MITHC, scholar Carl Jung attempt to elaborate on the concept of synchronicity which involves certain events in history being altered (Mountfort, 2016). Jung asserts the concept of synchronicity to be an ‘acausal connecting principle’.

The uchronie genre follows a linear timeline of event but heavily consists of lack of consistency in events; this is in close link to the many worlds interpretation which explains similarities that occur alongside parallel worlds that exist but have no direct relationship or a single string of cause (Mountfort, 2016). In simple words, all events occurring in one world or universe have or will have occurred in another or possibly multiverses. Though slightly remote, contemporary examples in science fiction films that play with theories in quantum physics and the whole premise of alternate history are Interstellar, Back to the Future series, and Men in Black series just to name a few.

In conclusion, all three genres consist of alternate world or worlds that coexist but events in their timeline are altered and in result, alter the future. Synchronic and diachronic perspectives are what distinguish these genres, along with the unconventional factor of temporal and spatial alternatives.

References

Dick, P. (1962). The Man in the High Castle. London: Penguin.

Mountfort, P. (2016). The I Ching and Philip K. Dick’s The Man in the High Castle. SF-TH Inc

Mountfort, P. (2020). Week 10: The Man in the High Castle, uchronie and the I Ching. PowerPoint.

Wired (2011). The ‘If’ Moment: A Brief History of Alternate Histories. Retrieved from https://www.wired.com/2011/05/alternate-histories/

Week 9 Question

1. According to Mountfort et al. (2018), what are the three main genres of cosphotography, and how did they historically develop?

Cosplay fan conventions are known to have developed genres of cosphotography, where people in cosplay do more than wearing costumes, make-up and prosthetics (Mountfort et al, 2018). Cosplay photography is inclusive of poses and gestures made by cosplayers, which is a part of the fan capital; not only does it provide a private value in fan capital, it also gives cosplayers a chance to network and form or join communities that express similar cosplaying interests (Mountfort et al, 2018). The concept of cosplay photography can be traced to its emergence circa 1908 in the United States; William Fell of Cincinnati dressed up as ‘Mr Skygack’ in a masquerade ball (Mountfort et al, 2018). The three main genres of cosplay photography are known as firstly the ‘runway’ snapshots that originated from cosplay costume conventions, the second as ‘hallway’ photography where cosplayers were photographed in informal convention spaces, and the third that developed from hallway snapshots to ‘studio portraits’ (Mountfort et al, 2018).

As the most formal genre of photography, costume convention photography or also known as ‘runway’ snapshots encompassed cosplayers that participated in convention competitions held on stages or runways (Mountfort et al, 2018). Mike Resnick’s account of the annual masquerade that inaugurated in 1940 narrates the first formal photography, while informal photographs were taken in 1939 (Mountfort et al, 2018). Formal cosphotography implied consent from cosplayers to be photographed. With such a distinction in formal and informal convention spaces, it led to the creation of two more genres as known today, those being the ‘hallway’ and ‘studio portraits’. This was enabled through technological advancements and the emergence of mass media, along with cameras that had become affordable to the public (Mountfort et al, 2018). Polaroids and instamatics from the 1950s and 1960s respectively largely contributed to black-and-white photography (Mountfort et al, 2018). Cosplay competitions resembled practices and aesthetics of fashion shows, as photographers would constantly capture different cosplayers and cosplayers would pose or catwalk on stage to display costume capital (Mountfort et al, 2018).

Hallway photography is the least formal genre of cosphotography; cosplayers are often caught out of act while being photographed which explains informality (Mountfort et al, 2018). The Mike Resnick account of the informal snapshots of 1939 convention is the first account of ‘hallway’ or informal cosphotography (Mountfort et al, 2018). Hallway photographs are taken by an assembly of varied photographers, snapshots that range from DSLRs to contemporary media such as smartphones; these lack the specific setting in terms of backdrop and lighting (Mountfort et al, 2018). It is argued that this genre of photography is quite invasive as it occurs sans the consent of cosplayers, but Bordieu (1965) put forth his view of the ‘natural pose’, wherein humans instinctively pose toward cameras as ‘out of respect’ (Mountfort et al, 2018). Nonetheless hallway snapshots are more spontaneous than a preparation of capturing the essence of the cosplayers’ characters.

Studio portraits as the third main genre of cosplay photography emerged in the 1970s, also known as an amalgamation of the first two genres (Mountfort et al, 2018). The term for the genre ‘studio portraits’ derived not from shooting in private locations but in designated convention spaces that comprised of settings such as lighting and backdrop (Mountfort et al, 2018). Much of this cosphotography would take place during or after the convention. One of the first accounts of such genre’s photography was Angelique Trouvere posing as Vampirella in 1969, which displays aspects of studio features along with character poses (Mountfort et al, 2018). Initial studio cosphotography were staged with plain, more commonly solid colour and fabric backdrops and minimal props; contemporary studio cosphotography consists of far more props and use of advanced technology such as blue-screens (Mountfort et al, 2018). Studio snapshots often resemble fashion shoots because of its professional aspects in photography, but is mainly regarded as a fusion of hallway and runway style cosphotography (Mountfort et al, 2018).

References

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet cosplay: Costume play, identity and global fandom. Intellect.

Week 8 Question

Q: What does the term détournement mean and how is it applicable to cosplay?

Détournement is a term coined by a group of artists and intellectuals known as the Situationist International (1957-1972), which refers to a novel variation or artistic practice of transforming artworks with a political message (Oxford reference, n.d.). Its original purpose was to provide a ‘re-route’, disfigurement or a subversion of social hierarchy or authority; in other words, the activity is synonymous to satirical parody (Mountfort, 2018). In context to Cosplay, détournement encompasses the ‘direct reuse’ of ‘faithful imitations’; in its world of fandom, Cosplay sees this technique as a critical practice, which is mostly played and observed through ‘parody, pastiche, satire, burlesque, and caricature’ (Mountfort, 2018). Cosplay is applicable to extent where the character in play is cited from a source text and has the appropriate audience to actualise its validity (Mountfort, 2018). The concept can easily be interchangeable with the term détournement; the factor of recontextualization differentiates citation from détournement when features such as body type and collaborative role are considered (Mountfort, 2018).

Material and social aspects of the cosplayer are considered in détournement, such as the body type, accuracy of costume, and their role in a collaborative cosplay group (Mountfort, 2018). The concept can be termed as ‘cross-play’ wherein female players dress as male characters and vice versa; simply put, the representation of gender in addition to race is fluid (Mountfort, 2018). A subtype of détournement in Cosplay is fanfiction, where cosplayers mess with the source material to create their own text; this is only able through the player’s familiarity with the source material’s story and fandom (Mountfort, 2018). Often these type of subversions are created to transform the text for readers and audiences with specific interests in ‘disfiguring’, or following up the story with their own plot twists to cater ‘fetishes’ (Mountfort, 2018; 2020). With this technique, Cosplayers display textual mashup and creative reinterpretation; in a way, players have the freedom to knit their identity through mixing and mashing up of the character’s original ideology and their material interests (Mountfort, 2020). In addition to giving their character a three-dimensional aspect in Cosplay, the cosplayer attempts to reconstruct the character by becoming the character but with a derailment in either act or feature (Mountfort, 2020).

References

Mountfort, P., Peirson-Smith, A., & Geczy, A. (2018). Planet cosplay: Costume play, identity and global fandom. Intellect.

Oxford reference (n.d.). détournement. Retrieved from https://www.oxfordreference.com/view/10.1093/oi/authority.20110803095713704

Week 7 Question

Horror as a genre has its origins dating back to the Spanish inquisition in the 13^th century. The genre revolved around religion and its components were used as a propaganda to evoke submission from the general public (Jones, 2020). Known as pre-modern horror until the 19^th century, stories usually comprised of acts that were deemed scandalous and gruesome, which were later on defined through characters such as vampires and witches in Gothic horror (Jones, 2020). Modern horror, as from late 19^th century, gradually begin to revolve around local incidents and economic instabilities, such as local crime and post war adversity (Jones, 2020). From late 20th century to current era, horror novelist Stephen King has made exceptional strides in both horror literature and film industry. King (2011) describes three basic elements of horror that prove success in appeal to audiences.

King (2011) asserts that the horror genre presses on issues relevant to the decade such as economic instabilities; for example, the 70s experienced high inflation and high interest rates, buying a house was a huge accomplishment if achieved, and so horror films like The Amityville Horror, King’s The Shining were classics that were box office hits (Hendrix, 2017). In King’s explanation (2011), the three basic elements are revulsion or the ‘gross-out’, horror, and terror. The first tier of fear known as the ‘gross-out’ is a method of physically revolting the audience with something extremely graphic (Regal, 2019). As a classic example, The Shining (1980) begins with the revulsion factor by the backstory of the Overlook Hotel, where the previous owner Grady brutally murdered his entire family (Bracken, 2020). The specific details of all the murders cause physical recoil in the audience.

The second tier of fear is horror. This element is basically the graphical portrayal of ‘the unimaginable’, wherein something is visually beyond comprehension to the extent that it evokes fear and audiences would struggle to put the pieces of the story together (Regal, 2019). In The Shining, this element is displayed through a number of scenes; Danny is encountered with disturbing apparitions, ghastly figures, the vision “REDRUM” of murder spelt backwards is seen repeatedly, and a hose that chases Danny down the hallway (Bracken, 2020). The element is further fuelled with the fact that Danny’s parents are reluctant to believe in his visions, ghostly encounters, his bruise from being strangled and ultimately when Jack, the current caretaker, and Danny have several encounters upon Grady’s ghost’s persuasion to kill the family.

The final element and top of the tier is terror, which is the kind of fear induced through imagination (Regal, 2019). The audience is given specific unknowns towards the end of the story/film that they will explain it to themselves with a number of possible scenarios built in imagination (Regal, 2019). The element of terror could also be in the form of realisations that characters have about themselves, their lives, or possibly about the environment they are in. towards the end of the film, a picture is shown of guests in a ballroom which dates back to 1921. Upon closer look, viewers realise that Jack is in the picture, up front and centred. This leaves the audience with terrifying thoughts and possibilities about Jack and possibly his past life.

References

Bracken, H. (2020). The Shining. Retrieved from https://www.britannica.com/topic/The-Shining-novel-by-King

Hendrix, G. (2017). Paperbacks from hell: The twisted history of ‘70s and ‘80s horror fiction. Quirk Books.

Jones, N. (2020). A history of modern Horror Video Lecture. Retrieved from AUT Blackboard.

King, S. (2011). Danse macabre. Simon and Schuster.

Neilan, D. (2017) Stephen King breaks down the different levels of horror. Retrieved from https://www.avclub.com/stephen-king-breaks-down-the-different-levels-of-horror-1806112160

Regal (2019). Stephen King’s 3 levels of horror. Retrieved from https://www.regmovies.com/static/en/us/blog/stephen-king-3-levels-of-horror

Week 6 Question

Q)According to Joshi (2007), a tale from the Cthulhu Mythos has several defining features that occur regularly throughout Lovecraft’s work. What are these features and how are they used in The Shadow Over Innsmouth? Furthermore, can you see any of these features being used in The Colour out of Space?

The Shadow Over Innsmouth (1931) is an original, published work of H. P. Lovecraft, and is a part of the Cthulhu Mythos. There are several defining features that form the basis of Cthulhu Mythos, much of which are inspired in Lovecraft’s upbringing and convictions, and are present in The Shadow Over Innsmouth (1931), and The Colour Out of Space (1927)(Joshi, 2007). The Mythos was a result of Lovecraft’s philosophical convictions and the influence of intellectual frenzy of early 20^th century; his works reflect his awareness of uncertainty in the knowledge of his time (Joshi, 2007). His convictions acted as a persuasion to challenge beliefs, and passed the notion that norms of humanity have no mere significance in front of looming uncertainty of the universe (Jones, 2020).

The defining features of the Mythos are categorized and explained in four concrete elements: a ‘largely imaginary New England topography – a recurring setting inspired in a number of works (Joshi, 2007). New England in Lovecraft’s works are reminiscent of the seventeenth century which was a haven of religious fanaticism, witchcraft, and invocations – incursions of tampering with the unnatural orders of nature (Joshi, 2007). The fictitious seaport in The Shadow Over Innsmouth is a part of mythical cities loosely based on real places that Lovecraft travelled to and visited (Joshi, 2007). The city Arkham in The Colour out of Space is loosely based on Salem. Aquatic hybrid creatures in Innsmouth (1931) are imagined from Massachusetts’ coastline, and Joshi (2007) asserts that the reservoir in The Colour out of Space could be an influence of the Quabbin reservoir in Massachusetts.

The second feature elaborates on ‘ancient and modern occult books’ of Lovecraftian library (Joshi, 2007). Joshi (2007) explains it as ‘a band of scholars who seek out texts… carry out the spells and incantations… to combat them’. In The Colour out of Space, this feature is not entirely present, but researches of the Miskatonic University venture out to study the strange meteorite. Lovecraft crafts the plot around the knowledge of supernatural horror; alien entities in the particular story are rather inexplicable, misshaped, and incomprehensible compared to human bodily structures (Joshi, 2007). This feature however in Innsmouth (1931) is replicated in the form of the odd townsfolk of Innsmouth, and the Deep Ones in the form of fish that deliver prosperity along with jewellery. The interest in the town’s half humans and objects are analogous of the feature’s explanation of quests ventured in such fictions, which in this case was the narrator (Joshi, 2007).

Third of the concrete elements is the ‘gods’, their human followers,’ and their monstrous ‘minions’ or acolytes (Joshi, 2007). Cthulhu Mythos worked around entities that were known as the ‘Elder Gods’, ‘Great Old Ones’, and ‘Outer Gods’ – beings that ruled the earth long before the existence of humankind (Cthulhu Mythos, n.d.). In Innsmouth (1931), they are reminisced as Deep Ones, inadequate in a manner of description, as the entities are incomprehensible to a human mind (Jones, 2020). Misquoted from Lovecraft, the sheer knowledge of unknown entities or the lack thereof is sufficient for a human to lose control and sense of reality as known (Jones, 2020). This is clearly portrayed in The Colour Out of Space (1927), wherein entities were defined by an odd colour apart from grotesque features.

The last feature elaborates on ‘a sense of the cosmic, both spatial and temporal’ (Joshi, 2007). Tales of Cthulhu Mythos are more firmly linked to science fiction rather than supernatural, however The Colour Out of Space deals with cosmic entities, a strong trait of the feature, that seem to be preeminent origins of intergalactic realms (Jones, 2020; Joshi, 2007). Entities in both The Shadow Over Innsmouth (1931) and The Colour Out of Space (1927) appear to abandon laws of matter; in the form of aquatic human hybrids and the odd parlance of the townsfolk that go against the human ability to comprehend alternative existence. As for The Colour out of Space (1927), the oddity that spread and manifested itself, in whatever encountered its existence in a remote area of the Gardners, was enough to enkindle insanity. A sense of revolt and trepidation carried on in the tale, reiterating the feature that occurs in terms of spatial and temporal dimensions.

References

Cthulhu Mythos, (n.d.). Retrieved from https://lovecraft.fandom.com/wiki/Cthulhu_Mythos

Joshi, S. T. (2007). The Cthullu Mythos, in Icons of horror and the supernatural: An encyclopedia of our worst nightmares. Greenwood Publishing Group.

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

Lovecraft, H. P. (1927). The Colour out of Space. Retrieved from AUT Blackboard.

The Shadow Over Innsmouth – 1931 (n.d.). Retrieved from

https://lovecraft.fandom.com/wiki/The_Shadow_Over_Innsmouth

Week 5 Questions

What genre or genres is Princess Mononoke? How does it relate to its ‘prequel,’ Nausicaā ?

Princess Mononoke (1997) is directed by Miyazaki as a Studio Ghibli production, for which the film was said to be a high grossing film of its time. The release of Nausicaä of the Valley of the Wind (1984) set a leap forward for Miyazaki in the animated film industry.

The presence of unconventional themes such as the coexistence of a natural order and humans in villages suggest a fantasy genre for Princess Mononoke (1997) (Mountfort, 2020). Miyazaki also attempted to undermine two prominent Japanese cultural myths in the film, those being the myth of feminine subserviency and the myth of nature and humans living in complete harmony (Napier, 2001). Miyazaki also attempts to confront the conventional notion of the plot setting by setting Princess Mononoke in the Muromachi period; this particular era was said to be a climacteric period in Japanese landscape, along with increasing literature and arts (Napier, 2001). However it can be seen that the fantasy theme involved mystical creatures such as the forest god and the soul-manifesting demon, and the constant environmental destruction that accrued from human counterparts (Napier, 2001; Mountfort, 2020). Feminine character portrayals are stronger, warrior-like, and are roles with their own, powerful voices. Such examples are San, who is a warrior girl brought up by wolves, and Lady Eboshi, who leads a homogenous village, but is evil as she seeks to eliminate the forest god (Napier, 2001; Mountfort, 2020). Miyazaki’s realm in Princess Mononoke challenges countless, conventional notions, its highlight being its protagonists are marginals of the conventional Japanese society (Napier, 2001). Women and nonhuman tribes are leading roles in the film, and ancient gods with close linkage to nature are brought to life (Napier, 2001).

Nausicaä’s themes are mainly eco-fable, collapse of a civilisation and environment. Themes of anti-warfare and anti-violence are direct messages posited, and the most notable character, that being an independent shōjo, which is the opposite of the shojo stereotype (Mountfort, 2020). The film deconstructs the stereotype of a weakened feminine character; the heroine of the film is a strong-willed saviour that is ready to sacrifice for the future of her people if not the world (Mountfort, 2020). Nausicaä portrays the divide between the good and the evil through criticism, but Princess Mononoke primarily addresses the issue in hand through various plots (Mountfort, 2020).Despite the differences in setting of the two films, Princess Mononoke can be seen as a thematic prequel of Nausicaä; the themes of fate of the world and people, waging warfare and individual character development are indicators of the film being a prequel of Nausicaä (Cavallaro, 2015).

Both productions by Miyazaki suggest the everlasting conflict of humans and nature; the existence of endless development in technology prove the inevitability of destruction and collapse of the two (Cavallaro, 2015). Miyazaki posited that his plots are crafted as subliminal messaging into young minds, suggesting to bridge the coexistence of two contrasting forces and find a way to cohabitate (Mountfort, 2020). Not only did the films inspire the young audience, they were successful with mature audiences as well.

References

Cavallaro, D. (2015). The anime art of Hayao Miyazaki. McFarland.

Mountfort, P. (2020). Pop Genres_2020_Week5_Anime #2 [PowerPoint slides].https://blackboard.aut.ac.nz/

Napier, S. (2001). Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation. Springer.

Week 4 Questions

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

Anime began to gain recognition and popularity in Japan by the late 1960s and 1970s; it became a popular culture by the 80s and 90s wherein the Japanese anime culture was seen cross pollinated into western culture through cosplay conventions and a number of western films that have been inspired (Napier, 2005). The release of the quintessential cyberpunk anime Akira (1988) marked a turning point for films later to come, wherein its themes of cyberpunk, high technology and production quality were inspired to be adapted in numerous plots. Akira’s (1988) international success indicated the cross cultural awakening of anime and its transformation into the western film and popular culture (Napier, 2005).

Prior to the release of Akira, the Japanese art form anime was considered a minor form of art suitable for audiences of children; examples such as Astro Boy (1963) and Jungle Emperor Leo (1965) were popular in the field of anime (Mountfort, 2020). Akira stands out from the canon of successful anime productions because of its futuristic plot and its presentation as a live action film (Napier, 2005). Akira’s features of a futuristic cityscape and its suggestive story of telepathic powers and telekinesis have notably inspired a number of contemporary science fiction and cyberpunk productions (Chu, 2018). The multimodality of Akira being a blockbuster with elements of warfare and destruction had pushed the boundaries of the time’s construct of animated films, which then enabled the film to be a benchmark in the history of animated productions with multiple dimensions (Napier, 2005).

Manga, known as the Japanese form of American comic, began to make strides in becoming influential in the western culture. The manga form of Akira began gaining recognition post the filmic release of Akira (Covil, 2017). Akira (1988) paved way for mature audiences, wherein such examples of productions can be seen in Ghost in the Shell, and Netflix original series Stranger Things, where the main character is also isolated from fully exploiting her telekinetic abilities (Covil, 2017; Chu, 2018). Not only did Akira shatter the conventional construct of animation films, its continuous inspiration led to the creation of the television and manga series Sailor Moon in the mid 1990s, and its popularity was seen to be spread as merchandise, paraphernalia of its theme and main character, Usagi, which also inspired young girls to look up to a character of incredible cuteness and powers (Napier, 2005). Without the production of Akira, the field of film-scape as seen today would not be a feast and influence for growing audiences.

References

Chu, H. (2018). Why the pioneering Japanese anime ‘Akira’ is still relevant 30 years later. https://www.washingtonpost.com/entertainment/why-the-pioneering-japanese-anime-akira-remains-relevant-30-years-later/2018/07/12/b7577c74-813f-11e8-b851-5319c08f7cee_story.html

Covil, M. (2017). ‘Akira’ Is Frequently Cited as Influential. Why Is That? https://filmschoolrejects.com/akira-influence-12cb6d84c0bc/

Mountfort, P. (2020). ENGL602 Popular Genres: Lecture 4/Week: Anime 1_Akira_2020 [PowerPoint slides] AUT Blackboard. https://blackboard.aut.ac.nz/

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

Week 3 Questions

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

There is little to near naught on the critical analysis of gaps in Hergé’s representations of women. It can be notably argued that the representation of women can be considered as insignificant or ‘wallpaper’ constituents (Mountfort, 2020). Much of Hergé’s albums of Tintin barely have female characters that do not contribute to the plot. Common representation of female characters were built in the maternal, caretaker, and assistant sphere. Women in Hergé’s depiction are seen as subservient, feeble characters with minimal say in the storyline; their characteristic ability only show them as far as capable to tend to domestic tasks. Much akin to background fillers, women are also portrayed as victims of tragedy. One example of an exemplary representation is Mrs Wang in The Blue Lotus, wherein she is seen wailing over her son’s misfortune due to consuming poison; Another example is seen in the issue of Tintin in the Congo, where a Congolese woman mourns the demise of her husband (Mountfort, 2020). Another one of Hergé’s oriental caricature was Madame Yamilah who was a fortune teller, but much of her abilities were made insignificant as she was shown to be dependent on her male counterpart (Mountfort, 2020).

Much of Hergé’s works have complete absence of female characters, yet the closest Hergé had come to portraying significant female roles are Peggy Alcazar and Bianca Castafiore in The Castafiore Emerald. Peggy Alcazar is depicted as a bossy woman with a spearheaded personality, although an apparent gold digger (Mountfort, 2020). Critics argue that Peggy’s short yet bold appearance in the illustrated issue was a futile attempt on Hergé’s part to represent the rise of the second wave of feminism during the time of album’s release; shortly thereafter her appearance it was apparent that Hergé glided back to his usual representation of women or the lack thereof (Mountfort, 2020). Bianca Castafiore is an opera star obsessed with rare jewels, with a spontaneous and loud personality, much akin to the lifestyle of a celebrity; however, she was made to be a chatterbox role who would interrupt conversations with her random, vocal outbursts (Europe Comics, 2020). McCarthy (2006) critiqued Castafiore’s characteristic purpose as a symbol of feminine pleasure, which is to say that Hergé’s leading women were apparently only fit to display their femininity and sexuality. It has also been suggested by Apostolidès (2010) that a bottle of champagne in scenes with Bianca Castafiore symbolised sexual tension, therefore reiterating the portrayal of feminine sexuality.

In regard to this argument, the issue can be perceived in two manners: Hergé’s representation of women can either be regarded as no particular representation, or an underrepresentation that conflicts with the awakening of the second wave of feminism at the time (Mountfort, 2020). To support the argument, Hergé claimed that “women have nothing to do in a world like Tintin’s; I like women far too much to caricature them” (Sadoul, 1989). A statement as such possibly reinstates Hergé’s opinion of women being innocent counterparts with little to no potential as leading roles in an all-male realm of Tintin (Mountfort, 2020).

References

Europe Comics (2020). Women in Belgian Comics P1:Invisibility to objectification. http://www.europecomics.com/women-belgian-comics-invisibility-objectification-pt1/

McCarthy, T. 2006. Tintin and the Secret of Literature. London: Granta.

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

Sadoul, N. [1975] 1989. Tintin et Moi: entretiens avec Hergé (Tintin and Me: Interviews with Hergé). Tournai: Casterman