Pop Genres 2020

Week 4

Week 4 – What was the cultural impact of Akira (1988), and why does it occupy a key place in the canon of anime greats?

Akira is an animated Japanese movie made in 1988, directed by Katsuhiro Otomo, and was a pioneer in the genre of anime. In terms of subgenre, it is classified as a post-apocalyptic cyberpunk anime. Cyberpunk is a subgenre of science fiction, focusing on futuristic urban societies which are built upon computer technology. Akira is set in a post-apocalyptic future, after the planet has suffered a third world war, the story taking place in neo-Tokyo, which was once destroyed and now rebuilt as a thriving metropolis. The story follows a member of biker gang in neo-Tokyo who has been kidnapped by a secret government agency, and his best friends’ quest to rescue him.

It is revealed that Tokyo was destroyed in 1988 by an atom bomb, and though thirty-one years later in 2019 neo-Tokyo is thriving and technologically advanced, it is still desolate and barren in a dystopian kind of way. In regard to the deadly nuclear war which destroyed the city, there is a connection that can be made to world war two, and the horrific nuclear explosions in Hiroshima and Nagasaki in 1945. This national tragedy which is held with importance in Japanese history played a big part in inspiring the destruction and anarchy that is portrayed in Akira. The historical connection is one of the main reasons why Akira became culturally significant, especially for Japanese audiences.

The theme of the biker gang stems from Japanese popular cultural influences in the 1980’s. In Akira, the biker gang symbolizes the disillusioned and rebellion fuelled youth of the 20^th century. The end of the second world war brought many waves of rebellion, the future generations dissatisfied with the conventions of conservative viewpoints, the horrors and systematic aggressions of war. Themes of youth having lost hope in the future and perseverance is also prominent, portrayed well in the classroom scene in Akira, having seen the students’ disinterest in education. For many teenagers and young people watching at the time, there was great relevance to how that generation was feeling and their unique place in society.

Apart from the cultural, historical and societal importance that Akira holds, it remains to be one of the most artistically influential animated movies of the 20^th century. There had never been a production like it before in Japanese film history, having the most expensive budget for an anime movie than ever before. The animation turned out to be so striking, it was clear even at the time that Akira was a masterpiece, and definitely much more than an animated movie for children. After its release, Akira heavily influenced the way mangas and comic books were made and impacted live animated as well as live action movies in terms of story and production. Akira was the first animated Japanese movie to really break into the western world and catch the attention of American audiences, who now were demanding more comic books and mangas that could evoke the same brilliance that Akira had.

References :

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

Week 4 – Anime

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

“Unquestionably a masterpiece of technical animation, Akira is also a complex and challenging work of art that provoked, bewildered and occasionally inspired Western audiences when it first appeared outside Japan in 1990.”
Napier, Susan (2005) p5

Napier (2005) states that some may argue Japanese Animation, or Anime as it is commonly referred, are short lived, low forms of art rising and falling around the demands of the marketplace and changes in popular tastes. She asks if Anime should in fact be compared to Haiku, woodblock prints and other high culture Japanese art forms or should Anime be analysed as purely social phenomenon?

Napier (2005) reflects the rise in Anime as an intellectually challenging art form. She states the rise in academic discourse around anime from the 1990s as evidence for its increased importance as a form of high art particularly relevant to aesthetics and sociological studies. Within Akira, we see the results of a post doomsday event leaving children orphaned and exploited.

Moreover, Napier (2005) argues that as well as anime being a form of entertainment with global reach, the medium also moves audiences and provokes viewers to consider contemporary political and social issues. An example of this is the corrupt military, police and political officials, in Akira.

She also suggests that the origins of Anime come from traditional high Japanese art such as Kabuki and woodblock. In Napier’s (2005)“The problem of Existence in Japanese Animation”, she discusses the evolution of anime originating from Kibyoshi, animated texts, which then evolved into Manga, graphic novels, and then to animation.

On the other hand Napier (2005) recognizes that animation is usually seen as a low cultural form of minor art worldwide, especially in Western culture. These societies associate animation, or cartoons, as used generally to entertain children, or as the occasional abstract arthouse piece of work. Whereas in Japan Animation has a long running track record of being created since post world two and is appreciated by multi generations as well as covering many sub-genres.

Some of the subgenres are as follows: Children’s cartoons, such as “Pokemon”, “No need for Tenchi” – Romantic Comedy, “Heidi”– Children’s Classic, Science Fiction with additional subgenres- Cyberpunk and Mecha (which is shortened for mechanical). This subgenre incorporates robots and androids. Another popular subgenre is Apocolypse, which be either of the material world or the interpersonal world. More subgenres are Sex, Festival, Elegy, Samurai sagas, as well as “Perfect Blue which incorporates the “schizo-psycho thrill machines” subgenre and finally the Post Doomsday Fantasy subgenre that is Akira.

In conclusion Napier refers to Anime as a fascinating medium that should not be assigned to merely “low” or “high” cultural attributes. She maintains that the modalities used to research and understand Anime are far more complex.

References:
Katsuhiro Otomo (1988) Akira

Napier, S. J. (2005). The Problem of Existence in Japanese Animation. Proceedings of the American Philosophical Society, 149(1), 72–79.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

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

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

Week 2

What is the alleged connection between Hergé’s early comics and propaganda?

Due to Herge’s Employeer Le Pitit Vingtieme’s foriegn corrospodenent being the one to being the person to provide the familiarity and early understanding of Comics for the time period (1928), From there he went on to Found and Lead a Belgian Fascist ground called the Rexist (Mountfort, 2016). I feel we can assume from the way Leon inspired Herge in the use of the speech bubble aswell as introduced him to the latest transatlantic developments, That they were on good terms and with him being the one to provide comics for him as he started his own influences could have been transferred on to Herge. We can see this influence in his early works Tin Tin and the Congo being Belgian Colonist siding with the Racist depiction of the natives and that that it was in their best interest to be colonized i feel that this is a perfect example of Leons influence seeping into Herges Comics therefore spreading Leons rightwing propaganda whether by design of Herge himself or if he was just following what he had just assumed as normal we can clearly see the bias towards one side.

Much like how we hear that with news stations in america that they either lean one way or another and lately even in our own country we may not view it as propganda in the present but as time goes on and views change and more information comes to light we can then see that a lot of media past or present has a bias and one we may not see until either pointed out or our own personal views change.

References

Mountfort, P. (2016). Journal of Asia-Pacific Pop Culture (Vol. 1). Auckland University of Technology. https://blackboard.aut.ac.nz/bbcswebdav/pid-5308427-dt-content-rid-12496222_4/institution/Papers/ENGL602/Publish/Mountfort%202016_Tintin%20as%20Spectacle%282%29.pdf

Week 5 Question

Question 4: Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?

In terms of narrative structure anime does not abide by the same structure as western narratives typically do. In a western made movie, the character(s) will typically go through three stages in their journey. They tend to start with introducing the character and outlining the predicament they are in. Following on from this the character will go through a series of complicated events, and then end with those series of complications coming to a head and being resolved (Cavallaro, 2006). Whereas anime tends to span over several years or over a much longer timeline than a western narrative. Anime tend to be minimal in the amount they introduce the characters and where we find them (Cavallaro, 2006). Miyazaki described it best when he said “I gave up on making a happy ending in the true sense a long time ago. I can go no further than the ending in which the lead character gets over one issue for the time being” (Cavallaro, 2006, p. 6). The intention that Eastern narratives have is different from westerners. Anime is often focused on a target audience, Japanese audiences find messages within anime familiar and somewhat relatable. According to Alessandro Bencivenni, this may be why Akira was not fully appreciated by western audiences. The combination of what may have been ignorance or just detachment from some themes within Akira, and then the lack of explanation within the movie may have confused or deterred Westerners from enjoying Akira and therefore further anime (Cavallaro, 2006).

In terms of geography, anime is huge in Japan. In 1988, it is estimated that 40% of studio releases were animated, and by 1999 that had increased to 50% (Napier, 2005). As well as on film, anime TV shows were a big proponent to what was on during all times of the day, from kid friendly anime in the morning, to more edgy teenage anime in the later part of the evening (Napier, 2005). This popularity however has not always been around, it was properly established post war, with significant films coming out such as Astro Boy in 1963. Simply put, the West just does not have this history and wealth of anime that Japan and other Eastern countries have. This may be because the West has Hollywood and Japanese anime has to battle for a place amongst the oncoming onslaught of American blockbusters (Napier, 2005).

Despite the distinctness the West and the East can have around anime. A new theory has been posited. Maybe anime is borrowing elements of Westerners animation and film, and it seems that Westerners are being influenced by Japanese anime as well. For example, the Disney classic ‘The Lion King was seen to be heavily influenced by an anime called ‘Kimba the White Lion’. As well as Japanese animators and producers being influenced by Western culture and fashions (Napier, 2005).

References

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

Napier, S. (2005). Anime: From Akira to Howl’s moving castle. Palgrave Macmillan.

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

Week 2 Question

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

Hergé may have received numerous accolades of his sensationalised works of Tintin, but his albums managed to cause controversy under the surreal depiction and representation of race, those particularly being ethnic and culturally stereotyped. Some of the though notable issues that are exemplary of critique are Tintin in the Congo, Tintin and the Blue Lotus, and Tintin in the Land of the Soviets.

In Hérge’s work of Tintin in the Congo, the native representation of the Congolese in Belgium were portrayed as stark caricatures of dark skin, ‘juju-lipped Negros’, and their speech in pidgin English (Mountfort, 2012). One scene in the illustrated issue shows Tintin resolving a fight over a straw hat, to which the Congolese rejoice with the dialogue “White master very fair…!”. This particular scene depicts implementation of civilisation that was sought as a colonialist commitment; a way to restore civility which was apparently perceived as idiocy and ignorant behaviour of the natives (Mountfort, 2012). Another dialogue of disturbance is when Tintin stands before a classroom of the Congolese and educates them about their country: Belgium; this comes as a shock as the Belgian Congo was mercilessly administered as a European colony (Mountfort, 2012). Critics posit that Hergé firmly asserted and perpetuated xenophobia through racial caricatures and dialogues thereof. Although Hergé supported his depictions with the claim of paternalistic spirit that cascaded prejudices of the Bourgeoisie, his works nonetheless remained controversial (Farr, 2001).

Hergé’s Tintin and the Blue Lotus is an exemplary classic of orientalism. For this issue, The artist collaborated with an art student namely Chang Chong-chen who attempted to resolve misconceptions of ethnic representation. In efforts to display sympathy for the Chinese during the Japanese invasion, Hergé illustrated a Chinese man whom Tintin befriends; his attempt to derive sympathy from reader audiences as well though remained less than effective as a change in perception. The shift back to apparent xenophobia was the stereotypical depiction of a Japanese man that was ‘pig-shouted’ with ‘buck teeth and visibly subhuman’ (Mountfort, 2012). Illustrations continued to perpetuate Japanese propaganda, Mukden Incident and the invasion in Manchuria that raised the stakes on Hergé’s racial depictions and political leanings (Mountfort, 2012). Hergé’s effort to counterbalance his controversial, political inclinations through invoking sympathy towards Tintin’s companion Chang were proved futile (Mountfort, 2012).

A third example of racial stereotyping by Hergé is found in the issue of Tintin in the Land of the Soviets. There is an illustration of the Englishmen being taken in by the Soviets under their propaganda, sustaining a Bolshevik Russia (Mountfort, 2012). Another illustration in the same issue portrays a voting system that is a concerted attempt to preserve the Soviet regime. Critics argued that it displayed the Soviets as unrelenting, vicious leaders under Bolshevism, a Democratic Party that seized reign in 1917; though the political misrepresentation continued in this issue. Caricatures of the Chinese made another appearance in this issue, wherein they were portrayed as pigtailed torturers in fancy robes. Evidentially supported, it can be argued that Hergé perpetuated his political inclinations, apparent xenophobia and ethnic stereotypes through several albums of Tintin.

References

Farr, Michael. Tintin: The Complete Companion. London: John Murray, 2001

Hergé. The Adventures of Tintin: The Blue Lotus. London: Methuen, 1983.

Mountfort, P. (2012). ‘Yellow skin, black hair … Careful, Tintin’: Hergé and orientalism. Australasian Journal of Popular Culture, 1(1), 33–49. https://doi.org/10.1386/ajpc.1.1.33_1

Mountfort, P. (2020). ENGL602 Popular Genres: Lecture 2/Week: Tintin and The Blue Lotus_2019 [PowerPoint slides] AUT Blackboard. https://blackboard.aut.ac.nz/

Week Three – Tintin

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

The adventures of Tintin created by Hergé are predominantly from a masculine perspective. This is shown repeatedly throughout his works as female characters are frequently in the position of mother, caretaker, housekeep, nurse and wife. The only exception to this is the character of Bianca Castafiore, who is an opera singer and makes cameos through many of Tintin’s stories.

Therefore there are numerous gaps in the representation of women throughout Hergé’s texts. In public settings there is a distinct lack of female presence. Although women make up 50% of the population they make up less than a quarter of the people in group settings. Furthermore these women are usually attached to a man or a child. The independent women are missing from Tintin’s adventures.

There are no female protagonists or antagonists in the story arcs. The times that women are present they are depicted as emotional, nurturers, dramatic or bossy. They also have have very little dialogue and when they do it is relation to male characters in the story. For example, in The Black Island, Tintin is recovering in a hospital where a kind nurse says “he’s a lucky young man.” Furthermore another lady on a train admonishes the German villians for being rude. She says, “I beg your pardon! Never a proper hello. Never an excuse me. Never a polite goodbye.” To this Tintin responds with “Hello Ma’am, excuse me, goodbye.” This depiction of women is in line with that of a school matriarch.

Within the markets in the Arabic lands of “The Crab with Golden Claws” there are no women at all. Furthermore, the children depicted in the streets are boys. The only woman to make appearance in this story is the House keeper who screams when a man is kidnapped outside of Tintin’s home.

The women within Tintin’s adventures are often portrayed as lacking strength, physical, mental and emotional. Their dialogue is lacking in importance to the story, except when pointing out distressing situations. This is reinforced in “The Blue Lotus” with the mother wailing of her son’s predicament, whereby he is afflicted by poison to make him insane. At the end of the story while celebrations are underway as Tintin has saved the day she says “and to my son for getting well.” Analyse of Hergé’s work and the lack of agency in the female characters did little to gain change in the author.

“Hergé apparently ignores and arguably resists the challenges to women’s subordination which were being staged in various feminist ‘waves’ throughout the period of his life and work.” Mountfort, Paul (2020) pg 2.

Furthermore the author reinforced his position by suggesting that there was no place for women in Tintin’s world.

References:
Hergé, (1931) The Blue Lotus
Hergé (1938) The Adventures of Tintin – The Black Island
Hergé (1941) The Adventures of Tintin -The Crab with Golden Claw
Mountfort, P. (n.d.). ‘Tintin, gender and desire.’ Journal of Graphic Novels and Comics. https://doi-org.ezproxy.aut.ac.nz/10.1080/21504857.2020.1729829

Week 5 – Anime

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

Literally translating to ‘little female’, shōjo refers to the anime sub-genre typically known for its focus on romance and relationships and is also a term assigned to young girls from 12-13 years old. Cavallaro describes shōjo as “nestled between adulthood and childhood” (2006), signifying the transitional period of girl to young woman. Depictions of shōjo highlight the complex and contrasting ideas between masculinity and femininity, innocence and budding eroticism, power and powerlessness (ibid., 2006). The concept of shōjo has developed over time in Japan, reflecting conflicting ideas, growing awareness and increased concern over female agency and portrayal in literature (Ogi, 2003).

The average shōjo is usually an attractive young girl, either depicted as a passive being ‘suspended in a timeless dreamland’ or as a prepubescent object of desire (Cavallaro, 2006). Miyazaki’s take on shōjo was and are paramount in the subversion of these common anime constructions and functions of shōjo. He achieved this by showing his female characters as strong-willed and powerful individuals, who were simultaneously compassionate and gentle (Mountfort, 2020). We see this in Princess Mononoke when the image of San’s blood smeared faced, appearing wholly savage, is contrasted with her efforts to suck a bullet out of the wolf.

Shōjo anime personifies the journey of self-discovery and development, embodying the potential all humans have to navigate and challenge the world we live in.

References

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 Video Lecture, part 1. Retrieved from Blackboard.

Ogi, F. (2003). Female Subjectivity and Shoujo (Girls) Manga (Japanese Comics): Shoujo in Ladies Comics and Young Ladies Comics. The Journal of Popular Culture. (4), 780-803. doi:10.1111/1540-5931.00045