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Week 4 Questions – Anime

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

Despite the fact that in today’s time there is an endless list of anime, some which hold more prevalence than others. That being said, amongst this vast list of given anime there is nothing more critical in means of popularity as well as the strong basis of foundation for good and classic means of anime particularly in terms of entertainment to the turn of events and notoriety of the class than Akira (Otomo, 1988). A baseline explanation concerning why Akira built up itself as one of the greats in the anime group is the manner by which it has remained socially pertinent even 32 years after its creation. This is because of the powerful concepts and aspects of  symbolism in Akira taking after a great deal of the constant battles that individuals face against degenerate government frameworks. The faction following that Akira obtained was generous thinking about how obscure anime was toward the western world gaining over $80 million worldwide in VHS deals alone. Set forth plainly, Akira demonstrated to the western world that the factor of animation other than the typical western, generic products existed, that this concept of such animation in Japanese style existed. Akira is on the list of one of, if not the most significant anime manifestations. It was that one film that had further uncovered numerous western crowds to the universe of Japanese liveliness and thus, the social effect of Akira was undoubtedly massive and growing. Akira’s visuals, soundtrack, story line, and different perspectives were not normal in terms of any concepts and aspects  for anything the western crowds would have seen up until that point. Asides from such factors, Akira also indicated  to western crowds an enlivened film that didn’t wander away from what would actually be considered to be realistic portrayals of brutality, the concepts of visual violence as well as the following ideas of sexuality. This was something that was basically never observed until the approach of Akira. Akira was firm in such a manner and is another motivation behind why it had an enormous social effect. This factor of popularity is also most likely due to one of the facts that before the (western)  world came to know of Akira, the basic basis of animations lay within cartoon such as disney and children at the time only knew of such visuals of animation. So when they came to know of Akira, the visuals and such would have been exceptionally in a different style, a different presented tone of work. They would have been stunning yet however unusual, as it was fundamentally not the same as what they would have been presented to, what they had actually been used to. This can be backed up by the fact that  “Its complex storylines challenge the viewer used the predictability of Disney … while its often dark tone and content may surprise audiences who like to think of ‘cartoons’ as ‘childish’ or ‘innocent’.” (Naiper, 2005, p. 9). Akira also further then influenced the growth and creation of sub genres, such as for example cyberpunk. Overall, without the foundations of Akira other prevalent and influential anime would not be produced. Because of the fantastic as well as engraved and long lasting social effect of Akira, it has established itself as a key film in the incredible standard of anime close to numerous other extraordinary works of anime.

References

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave/ Macmillan.

Otomo, K. (Director). (1988). Akira [Film]. Tokyo Movie Shinsha.

Week 5 Question

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

The “Shojo” is a popular Japanese term that translates into “girl or maiden” (Dollase, 2003). The term is often related to that of a young female character within both anime and manga and is aimed primarily at an audience of younger females. The Shojo is often portrayed in romanticised art styles with flowery language and feminine outlooks to attract the attention of young girls. 

The shojo first became popular throughout the late 19th century through manga and magazines that most Japanese girls would read (Thorn, 2001). Often, the shojo is depicted as the protagonist and heroine in the story, and many famous anime films created by the famous Studio Ghibli such as Spirited Away, Nausicaa, and Princess Mononoke show this character perfectly. Within anime, the shojo functions through the character of a girl, typically pre-teen, that embarks on otherworldly adventures to complete tasks that save either themselves or their entourage of friends, families, and people (Mountfort, 2020). Spirited Away stands as a perfectly famous anime film that represents the shojo because, through its wackiness, a young girl by the name of Chihiro must save herself and her parents from a curse by working within the realm of spirits in a typical Japanese bathhouse. Within the early stages, the shojo was presented originally through manga and became increasingly popular, not just because it empowered females, but because it showed a different style of setting and artistic style through friendship and quite commonly love (Prough, 2010). 

Dollase (2003), includes an example of the shojo through the famous Hanamonogatari book and explains that the stories are made particularly for school girls that wish to neglect expectations around them and focus on appreciating their ‘girlhoods’ for longer. Dollase (2003), also uses the words of others to bring in the idea that many stories that use the idea of the shojo are often a symbolic jail for girls to hide from freedom, and also seek safety and protection from the outside world that takes advantage of them. Young girls are deprived and frequently turn to their inner selves for discovery.

References

Dollase, H. T. (2003). Early twentieth-century Japanese girls’ magazine stories: examining shojo voice in Hanamonogatari (Flower tales). Journal of Popular Culture, 36(4), 724.

Mountfort, P. (2020). ENGL602 Pop Genres 2020 Week 5 Anime Part 2 [PowerPoint Slides]. Blackboard. https://blackboard.aut.ac.nz/

Prough, J. (2010). Shojo manga in Japan and abroad. Manga: An anthology of global and cultural perspectives, 93-106.Thorn, M. (2001). Shōjo Manga—Something for Girls. Japan Quarterly, 48(3), 43-50.

Thorn, M. (2001). Shōjo Manga—Something for Girls. Japan Quarterly, 48(3), 43-50.

Week 5 Question

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

Hayao Miyazaki is an esteemed Japanese animation director, responsible for creating many of the most influential animated films of all time. Miyazaki’s big breakthrough into the animation industry came with the release of Nausicaä of the Valley of the Wind in 1984. This animated film established many of Miyazaki’s trademark themes that he has continuously explored throughout his filmography (Mountfort, 2020).

Nausicaä of the Valley of the Wind (1984) is an eco-fable set in a post-apocalyptic world. The film investigates the relationship between humanity and nature, while also delving into themes of war, environmental degradation and self-development (Cavallaro, 2006; Mountfort, 2020). While Nausicaä of the Valley of the Wind (1984) received universal praise from fans, Miyazaki felt unsatisfied by the simplification of its themes. Notably, the relationship between humanity and nature.

Years later Miyazaki would address this simplification with the release of Princess Mononoke in 1997, an eco-fable set in Japan during the Muromachi period (1392 – 1572). Just like Nausicaä of the Valley of the Wind (1984), Princess Mononoke (1997) contains themes of war, environmental degradation and self-development. However, this time Miyazaki would not shy away from presenting these themes with all of their moral complexity (Cavallaro, 2006).

Throughout Princess Mononoke (1997), neither humanity nor nature is entirely good or evil, unlike Nausicaä in which good and evil are well defined. Cavallaro (2006) elaborates that “the coexistence of ostensibly incompatible features in Miyazaki’s protagonists is echoed by the nature of its topographies” (p. 12). Therefore, the moral complexity in Princess Mononoke (1997) would help to expand on many of the themes established in Nausicaä.

While Princess Mononoke (1997) does not share any characters or settings in Nausicaä of the Valley of the Wind (1984), the film recontextualises many of the themes first present in Nausicaä and examines them in greater depth. As a result, enthusiasts of Princess Mononoke (1997) often cite the film as a spiritual sequel to Nausicaä of the Valley of the Wind (1984).

References.

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

Miyazaki, H (1984). Nausicaä of the Valley of the Wind.

Miyazaki, H (1997). Princess Mononoke.

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

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

Week 2 Question

Question 4: What issues do his albums raise in terms of representation of ‘race’, and particularly ethnic and cultural stereotyping?

Hergé’s representation of ‘race’, and particularly ethnic and cultural stereotyping have often been controversial and got him into hot water with accusations of racism and bigotry amongst other criticisms. 

His provocative racial, ethnic and cultural depictions began very early on in his career. For example, in 1934, in the Nazi edition of The Shooting Star there is a stereotypically depicted Jewish character called Blumenstein. The character is now known as Bohlwinkel but little else has been changed around the crude stereotypes he is portrayed as conforming to (Frey, 2004). 

Another example given to us by Frey (2004), is how Hergé represents indigenous people and culture in some of his albums. For example, in ‘Tintin and the Temple of the Sun’, despite the Europeans explorers being historically responsible for stealing artefacts and other items, exploiting the indigenous populations, and countless other atrocities, Hergé focuses on portraying the Indigenous Incas as responsible for infecting the Europeans with a sickness. The Europeans save themselves from the sickness by using science which shows them as superior and as more advanced.  

Moreover, the only deaths that occur in that album are of the Incas not of any of the European characters. These scenes are to show that the Incas got what they deserved for trying to hurt the Europeans and the Europeans are painted as victims and heroes for surviving against the odds. This is a typical example of Europeans’ views of colonialism at the time and the perceived minimal importance of Indigenous people’s lives compared to their own (Frey, 2004). 

These xenophobic themes are reflected in many of his other albums as well. A famous example of both colonialism and the racist representation of native people is Hergé’s ‘Tintin in the Congo’. He drew his native African characters as caricatured ‘juju lipped Negroes’ which was a popular European depiction at the time. Along with his racist characterisation of native Africans Hergé projected his colonialist views into the album as well, presenting native Africans as untrustworthy, lazy, and childlike to state a few (Mountfort, 2012). 

There are two defining scenes in this album that also shows how ignorant Hergé was about the Belgian occupation of the Congo. The first scene is one in which Tintin mediates a fight between two native Africans over a straw hat. He ‘resolves’ this issue by splitting the hat in half in which the Congolese men reply ‘White master very fair!’ This comment is designed not just to show the natives as objects of stupidity and ridicule but also to confirm that colonialism was “necessary” to bring civilisation, education and justice to the Congo. It also reinforces the view that the native Africans themselves desired this state of affairs.  

The second scene is one in which Tintin is conducting a lesson and begins the class, starting ‘‘Today I’m going to talk to you about your country: Belgium!’ In addition to being racist such comments came from a place of instilled ignorance about the history and background of colonialism. In fact it is now recognised that Belgium was not only extremely paternalistic, exploitative and cruel in its approach to the indigenous population during its colonial reign of the Congo but also did very little to advance the plight of the people through education or development. Hergé himself very rarely travelled and much of his research was conducted in the Royal Museum for Central Africa in Belgium. This stands to show the power that Belgium and other colonising countries had over censoring their own people (Mountfort, 2012). 

 Hergé ethnic and cultural stereotyping does not stop there, in his album ‘The Broken Ear’ he describes the Arumbayas as people whose ‘Long, black, oily hair framed their coffee-coloured faces’ (Dunnett, 2000, p. 592). This description links the Arumbayas to their country’s natural resources namely oil and coffee. The native’s appearance contrasts to that of Europeans who are presented as dapper, respectably dressed and well removed from associations with the natural environment. The storyline of the album also involves the search to find a missing explorer who they presume was killed by the Arumbayas. Eventually the explorer is found safe and is shown to be educating the tribe by engaging them in typically European activities such as golf, a further representation of the “positive” effects of colonisation (Dunnett, 2000).   

References

Dunnett, O. (2009). Identity and geopolitics in Herge’s adventures of Tintin. Social & Cultural Geography, 10(5), 583–598. https://doi.org/10.1080/14649360902974449  

Frey, H. (2004). Contagious colonial diseases in Hergé’s the adventures of Tintin. Modern & Contemporary France, 12(2), 177–188.  https://doi.org/10.1080/09639480410001693043    

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   

Week 3 Question

Question 1: What gaps are there in Hergé’s representations of women?

Throughout The Adventure of Tintin there is a gap in the representation of women. Hergé’s female characters are typically subordinate, weepy, fainting, domestic and pathetic creatures, or they are sexy and sensual seen as a man’s accessory, or they are just a crowd filler in his drawings. Comparatively men are portrayed as the heroes and are more ‘important’ to the story than women who are often drawn performing domestic duties such as sweeping or having jobs such as land ladies, house keepers, and nurses. 

Peggy Alcazar is perhaps the most dominant character besides Madame Castafiore, she is depicted as a domineering wife, with scenes in the album ‘Tintin and the Picaros’ where we see her bossing Alcazar around, and seeing him doing stereotypically womanly jobs such as the dishes. However, Hergé saw this as satirical and she is portrayed shrewdly rather than being seen as a symbol of feminism and empowerment (Mountfort, 2020). 

Madame Castafiore is the closest thing that Hergé has as a leading lady, she makes appearances in seven albums as well as having an album dedicated solely to her in ‘The Castafiore Emerald’ (Mountfort, 2020). Madame Castafiore is a self-made career woman, independent, rambunctious, and seen to boss around her attendants. Yet, her visits are almost always unwelcome, she always seems to ‘intrude’ both in real life and through media transmission, or just shows up at the worst or best of times (Mountfort, 2020). 

Hergé did not believe that women had much of a place in comics (Mountfort, 2020, p. 2) and that view has been transposed into his work.    

References

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

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

Week 5: Shōjo genre

‘Shōjo’ is one of the anime subgenres, it’s definition translate to literally means ‘young girl’ (Napier, 2005), anime where the protagonists character is female. It is also a demographic, basically anime genre that targets young girls, but mostly it is more about the visual and set of the story. The anime’s atmosphere and character design of this genre are often quite dreamy, cute and magical, clear examples of ‘shōjo’ genre is ‘Sailor Moon’ and ‘Cardcapture Sakura’ anime series. (Kahn, 2020).  However, young girls are not the only group of audience or consumers of this subgenre, there are also male consumers as well. 

According to Cavallaro (2006), looking at Miyazaki’s heroin character’s age and appearance, they are definitely ‘shōjo’. But there are differences to the average ‘shōjo’ characters. Miyazaki’s heroin has strong personality and leadership, they are not the typical average passive characters in a dreamland that some male audiences see as “play toys for Lolita complex guys” (Miyazaki, 1988). Miyazaki’s heroin is “active, independent, courageous and inquisitive” (Cavallaro, 2006), yet they also process compassion, gentleness and generosity for others. 

‘Shōjo’ are also a fascinating anime genre, as they intertwine with society views of gender roles and gender transgression. According to Napier (2005), this genre can “encapsulates both the increasing fluidity of gender identity in contemporary popular culture and the tensions between the sexes that characterize a world in which women’s roles are drastically transforming.”

Example of this is Miyazaki’s films, which are often exploring the topic of gender and sexual relations. His characters are portrayed in imaginative ways that surpass the notion and stereotype of feminism and masculinity. Character like Nausicaä of the 1984, ‘Nausicaä of the Valley of the Winds’ and San of 1997, ‘Princess Mononoke’, as both characters have strong personality and leadership, as well as being independent and courageous female character. Nausicaä are 16 years old and the princess of the Valley of the Wind. She is brave, intelligent, loyal, compassionate, and capable, she stands tall against all adversaries and is willing to sacrifice her life in order to save those around her. San is of similar age, she was raised by wolves and became a wild, untamed, short temper warrior, she is cold towards the humans, due to what they done to the forest, but she still possesses compassion.

References:

Cavallaro, D. (2006). The animé art of Hayao Miyazaki.Jefferson, North Carolina: McFarland & Company.

Kahn, J. (2020, February 19). Anime genres explained. Looper. https://www.looper.com/189420/anime-genres-explained/

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

Week 5 – Anime

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

Shōjo is a term that literally translates to “little female”, and in manga and anime is used to describe the transitional time between childhood and adulthood for young girls, usually aged 12 to 13 (Cavallaro, 2006). According to Berndt (2019), shōjo can refer to a genre aimed at female audiences, or to the character type of an adolescent girl. The main imagery used in shōjo is that of innocence, purity, virginity, vulnerability, and romantic nostalgia, but this is often contrasted with themes of sexuality and vulgarity, highlighting the transitional period of adolescence and its shift from child innocence to adult discovery (Berndt, 2019).  

Mesuda (2015) argues that the function of shōjo in anime is to help young girls navigate the challenges and struggles they face in their lives. Whether it be adapting to the changes happening in their bodies, navigating difficulties with family and friends, or searching for their own sense of identity, shōjo stories have functioned to help young girls explore these issues and provide encouragement along the way (Mesuda, 2015). 

However, Hairston (2015) argues that in modern manga and anime, shōjo character roles are limited to selective archetypes. These include: the magical girl who uses supernatural powers to solve problems, the romantic girl who just wants the perfect boy to fall in love with her, the cute girlfriend who exists solely as a plot device next to the main male character, and the “girls with guns” archetype where they are depicted as beautiful but deadly (Hairston, 2015). Many depictions of shōjo also serve the function of emphasizing the subservience and obedience expected of girls and women (Sugawa-Shimada, 2019). 

The emergence of the mahō shōjo, or magical girl, also attempted to subvert the stereotypes of shōjo in anime (Sugawa-Shimada, 2019). For example, powerful young girls such as those in Sailor Moon defy the meek and obedient archetype as they fight against their villains by themselves (Sugawa-Shimada, 2019). Many mahō shōjo characters also exist to challenge gender roles, explore female sexuality, and show female empowerment (Sugawa-Shimada, 2019).  

Both Hairston (2015) and Cavallaro (2006) point out that the films of Hayao Miyazaki defy these common shōjo stereotypes, as his female characters are strong, independent, inquisitive, well-rounded and active in their agency. For example, San from Princess Mononoke is a fiercely independent warrior who is also compassionate, as exhibited in the scene where she tries to suck out a bullet from the injured Wolf God (Cavallaro, 2006). Her bloodstained face is confronting and shows the viewer her grit, and this is contrasted when we realize she is covered in blood to help another being, showing her caring and nurturing side (Cavallaro, 2006). Other examples in Miyazaki’s films include Kiki in Kiki’s Delivery Service, who goes on an adventure in a new city all by herself while still an adolescent, Chihiro fighting a powerful sorceress to save her parents in Spirited Away, and Nausicaä exploring, flying, and fighting to the death, to save her people in Nausicaä of the Valley of the Wind. While the sole function of shōjo in anime can be for how they look or the comedic effect they bring, Miyazaki’s characters function as serious role models that inspire and emotionally move the viewer (Hairston, 2015).  

References 

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

Cavallaro, D. (2006). The anime art of Hayao Miyazaki. McFarland & Company. 

Hairston, M. (2015). Miyazaki’s view of shojo. In Toku, M (Eds.), International perspectives on shojo and shojo manga: The influence of girl culture (101-108). Taylor & Francis Group. 

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

Sugawa-Shimada, A. (2019). Shōjo in anime: Beyond the object of men’s desire. In Berndt, J., Nagaike, K., & Ogi, F (Eds.), Shōjo across media: Exploring girl practices in contemporary Japan (181-206). Springer International Publishing AG. 

Week 4 – Anime

What features make Akira cyberpunk, and how does it reference the wider subgenre? 

Cyberpunk can be described as a spin-off genre from science fiction, although it explores a different concept of the future (Indigo Gaming, 2019). It is heavily focused on high technology, as well as an oppressed society who are deprived of the benefits of this high technology and the advancements they bring (Indigo Gaming, 2019). Napier (2005) describes cyberpunk as a genre that centers on technologically advanced, dystopian futures where there is not always a clear distinction between human and machine. Many of the themes central to cyberpunk are explored in Akira, such as the use of technology, anti-establishment groups, and the overlap of humans and machines. 

High technology features prominently throughout Akira. From Tetsuo’s metallic arm replacing his own after it gets shot off, the futuristic and stylized motorcycles used by Kaneda and his bōsōzoku motorcycle gang, and the laser rifle used against Tetsuo by Kaneda are all examples of advanced technology that is an essential cyberpunk element (de la Iglesia, 2018). Even the idea of the espers being laboratory experiments gone wrong, and the destruction of Tokyo and subsequently Neo-Tokyo because of these experiments, highlights the dangerous side effects of futurism and its quest for advancement (Indigo Gaming, 2019). 

Another key component of cyberpunk are the themes of anti-establishment and non-conformity (Indigo Gaming, 2019). Akira explores these themes in several ways, where we see instances of anti-government and military power in which citizens fight back for control. For example, in the start of the movie there are protests and riots against the government and military, while the esper Takashi escapes a government lab with the help of a resistance organization, and Kaneda joins Kei’s resistance cell after learning about their plan to rescue Tetsuo (Gottesman, 2016). Akira also explores non-conformity with the use of the bōsōzoku motorcycle gang lead by Akira’s main character, Kaneda. The bōsōzoku are described by Standish (1998) as working-class youths who are unable to conform to society’s expectations of what they’re meant to be, and so resort to deviant behavior. Kaneda’s gang are an alienated, anti-establishment group who use their gang as a means to defy the control of the government and conventions of society (Gottesman, 2016). De la Iglesia (2018, page 2) also notes that within cyberpunk, “technology needs to be employed by anti-establishment, counter-cultural characters from the fringes of society.” This can be seen when Kaneda uses a laser rifle to try and stop Tetsuo, in an example of experimental and advanced technology used against a figure of authority, as Tetsuo has taken military and political control. 

One question cyberpunk asks is, “what differentiates man and machine?” (Indigo Gaming, 2019). Again, this is explored in Akira. When Tetsuo has his arm shot off he tries to fuse with the metal and concrete of the Olympic stadium but loses control of its expansion (Gottesman, 2016). Tetsuo has become dehumanized through his transformation into an esper, and is now morphing into a machine (Gottesman, 2016). The espers also fit into the theme of humans versus machines, in the sense that they are dehumanized to the point where they become machines, with the sole purpose of aiding the government. The espers are a trio of children used in a government project to understand psychic powers, and are then held in isolation to prevent any information from being leaked. They are used as tools by the government and denied their humanity through their imprisonment. As Jordan Weisman points out, “Cyberpunk, at its core, is all about the dehumanization of humanity.” (Weisman, 2012, as cited in Indigo Gaming, 2019). This is true in the case of the espers, as they are only allowed to exist to serve the purposes of the government, rather than be free as their own autonomous people. 

References 

De la Iglesia, M. (2018). Has Akira Always Been a Cyberpunk Comic? Arts, 7(3), 32. https://doi.org/10.3390/arts7030032 

Gottesman, Z. (2016) Tetsuo and Marinetti: Akira as a cyberpunk critique of futurist modernity. Journal of Japanese and Korean Cinema, 8(2), 104-126. https://doi.org/10.1080/17564905.2016.1221586 

Indigo Gaming. (2019, December 1). Cyberpunk Documentary PART 1 | Neuromancer, Blade Runner, Shadowrun, Akira [Video]. YouTube. https://www.youtube.com/watch?v=sttm8Q9rOdQ&feature=share&fbclid=IwAR0ZOnQmyGabIr8FMiM6Lkz-DBE1–cZrqPuIA2StGx-4WIjVmBrOKS9GeA  

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Palgrave Macmillan 

Standish, I. (1998). Akira, postmodernism and resistance. In Martinez, D. P. (Eds.). The worlds of Japanese popular culture : gender, shifting boundaries and global cultures (pp 56-74). Cambridge University Press. 

Week 1

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

The academic reception of popular genres has changed over time to become more positive and accepting of them as a legitimate field of study. In the past, high culture and literature was seen as the only legitimate form of entertainment, whereas now it is more widely accepted that popular genres are so permeated in the everyday lives of people that to exclude their legitimacy is to exclude the experiences and beliefs of a wide range of people (McGaha, 2015). The academic reception to popular genres has also changed to be more critical of these genres as well, as many Marxist theorists have critiqued the consumerism around popular genres and how they service the capitalist domination of the upper-class. 

The shift in academic reception to popular genres is a result of many factors, most critically the advancement and development of technology. This includes the evolution of television, the rise of comic books as opposed to traditional books, the shift from black and white to color on TV and film, and the use of multiple forms of media at once. Popular genres such as comic books, sci-fi, romance, fantasy, and horror became more interesting and entertaining than traditional genres. As a result, the need to study them became more important. 

The value of studying popular genres comes from the importance of understanding culture from different social groups. For example, anime as a popular genre can tell us a lot about the culture, history and politics of Japan and how it relates to the wider world. It also tells us about the lives of ‘ordinary’ people, as high culture is typically reserved for members of the elite, as it is written by the elite for the elite. 

Another value of studying popular genres is that it enables people to keep up with the modern world, one that is evolving constantly. Whereas traditional genres and literature can help explain the values, beliefs and politics from the past, popular genres give us a window into our present. This is important because of the constant evolution of technology, which makes our present hard to define in a narrow scope. Popular genres give us a sense of the world around us and the people who live in it, and therefore is a highly valuable field to study. 

References:

McGaha, J. (2015). Popular culture and globalization. Multicultural Education, 23(1), 32–37. 

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

Week 4 Questions: Anime

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

 

‘Akira’ was released in Japan in 1988. It was released outside of Japan in 1990, just as the Japanese economic bubble burst. It cost roughly nine million dollars to create (a record at the time), and was a complex and challenging work of art that provoked, bewildered and occasionally inspired Western audiences when it first appeared outside Japan in 1990 (Napier, 2005). It was successful abroad, spearheading Japanese animation brands in multiple foreign countries and as a result, a brand new market opened in Japanese animation. (Clements, 2020).

 

Akira’s story is very mature, which was not especially unusual for animated films created within Japan. However, as this was one of the first anime movies to be released to movie theatres in the west, audiences expecting a stereotypical western animated film were surprised at the mature themes explored within (Bolton, 2018). Some of these themes include humanity, destruction, gang warfare and disaffected youth (Bolton, 2018).

 

In 1993, Japanese critic Ueno Toshiya made a visit to the city of Sarajevo in a war-torn Serbia. In the middle of this city, he encountered a crumbling wall with three panels, one of these being a scene from Otomo Katshuhiro’s ‘Akira’ (Napier, 2005). In Serbia, this anime was an artistic icon of political resistance. This is just one example of the major cultural impact of the film itself, and its deserving place in the canon of anime greats.

 

Akira is a science fiction spectacle with a conspicuously high budget and quality of animation (Clements, 2020). Though its impact on the international anime marketplace and global culture is of significance, it was also ground-breaking in its animation, with its gorgeous style still standing the test of time (Bolton, 2018). As a result of this high budget, the production team were able to push the anime style of animation to an entirely new level. The team was able to utilise 24fps animation during selected moments to enhance sequences, making Akira a technical masterpiece of animated media (Mountfort, 2020).

 

 

References

 

Bolton, C (2018) Interpreting Anime. University Of Minnesota Press.

 

Clements, J (2020). Back to square one: The seeds of anime. Vol. 30, no. 6.

 

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

 

Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire.