Is it [anime] a high or low cultural genre/media, according to Napier (2005)?
Anime is the Japanese name for animation (Napier, 2005a) which has a range of genres, one of the most viewed being science fiction (Napier, 2005b). Napier (2005a) also calls anime a medium - as is manga, the Japanese graphic novel, which forms the foundation for many anime.
According to Napier (2005a), anime cannot be categorized so easily as either high or low culture, but it does comprises a mixture of both high and low. High culture influences in anime include Kabuki, woodblock prints and the topics it examines and low cultural influences in anime include, for example, present day cinema and photography (Napier, 2005a).
There seem to be no barriers as to what societal or cultural factors are used in anime (which appeals to the popular culture) (Napier, 2005a; 2005b) and Napier (2005a) tends to classify anime (as does Cavallaro, 2006b) into three similar groups: apocalyptic (or catastrophic), the festival (or carnivalesque) and elegiac (or nostalgic) which Napier (2005a) states “goes beyond any distinction between high and low culture” (p.14).
What is the ‘shojo’ and how does it often function in anime?
Shojo are romantic comedy anime (Napier, 2005a), spelt ‘shoujo’ in Cavallaro (2006a). This type of anime incorporates young girls aged about 12 and 13 (Cavallaro, 2006a). Napier (as cited in Cavallaro, 2006a) states shojo, for men, function as a stress reliever from the pressures of their professional lives, but are also popular with young girls. Shojo incorporates the elements of cuteness (Cavallaro, 2006a, p. 11) and where the young girls are “portrayed as passive being[s] suspended in something of a timeless dreamland” (Cavallaro, 2006a, p. 11) who function as, for example, “pets” (Miyazaki as cited in Cavallaro, 2006a, p. 11) for men or “play toys for Lolita complex guys” (Miyazaki as cited in Cavallaro, 2006a, p. 11).
However, Miyazaki’s shoujo anime incorporates teenage females who present altogether different personality characteristics (Cavallaro, 2006a). They are brave, adventuresome, “risk-taking. . . . also compassionate, gentle and magnanimous” (Cavallaro, 2006a, p. 11). One of the functions of Miyazaki’s shojo is to question typical relationships between men and women (Cavallaro, 2006a).
I find it disturbing that young girls would be discovering role models in shojo and being passive ‘pets’ for men. Fancy being placed in the same class as cats, buggies and goldfish, where a woman’s every want and need must be fulfilled through a man. Even a bird can ‘bite’ back and a cat scratch! Through shojo, women are being stereotyped – their existence having no meaning unless they are a product to be controlled and cared for (or not) by the opposite sex (this the existence of many Japanese wives who must follow the traditional stereotypical role?). There are some dangerous underlying issues for the young women who delve into this anime sub-genre. America’s religious right voiced its opinion on the Harry Potter books, but neither Cavallaro (2006) nor Napier (2005) mention parents voicing their condemnation for shojo where their daughters are concerned. Napier (2005a) mentions the outcry that surfaced against “violent pornographic anime” (p. 8), for example, after a man who indulged in this type of anime killed four girls. Perhaps shojo is as destructive and unhealthy for the girls who follow it, as its portrayal of passive women may leave them open to abuse. At least Miyazaki has spoken out and his anime is giving an opposing viewpoint. Another perspective: if shojo inhibits the potential in stressed out businessmen from abusing their wives and families, all the good?
What are some of its [anime’s] subgenres?
Subgenres under science fiction include “mecha (giant robot) stories, android-based stories, cyberpunk, war sagas [and] political epics” (Cavallaro, 2006b, p. 17). Subgenres within fantasy include stories with an Asian traditional theme; stories with Western traditional theme; supernatural tales; myths and legends; “comic fantasies; [and] adventures of superhero/superheroine” (Cavallaro, 2006b, p. 17). Another subgenre is Shojo (as discussed above).
According to Cavallaro (2006b), some in the West view anime as a “cultish sub-genre” (p. 19).
Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?
Although anime can be found in both the East and West, Napier (2005b) considers anime to be part of “a transnational stateless culture” (p. 24) as it has created a special place, across cultures, for itself on a global level. One reason for this is that anime characters, being un-Japanese-like, not only allow the Japanese to view something that is not wholly Japanese, but also has anime appealing to other cultures as well, such as America and Canada (Napier, 2005a). Another reason for the "stateless" (Napier, 2005b, p. 24) quality of anime is that the stories take place in environments that are not always identifiable as either Western or Asian (Napier, 2005b), or may be set in places other than Japan, for example, Europe or even Wales (Cavallaro, 2006a), yet anime also contain Japanese elements which have this medium appealing to the Japanese (Napier, 2005).
Anime, then, permits a global audience to escape to a ‘different’ space for their entertainment, one that can take them out of their own culture and setting. Among such audiences, Napier (2005b) mentions the younger generations who are conversant with electronic technology and for whom the culturally-mixed anime appeals; likewise, anime, aware of its global audience, allows itself to have a global flavour.
According to Cavallaro (2006), another factor which makes anime popular worldwide is that it allows people to choose from something other than American popular culture. Even anime’s story structure and complexity are unique from those in the West, while this uniqueness, which forms familiar features within anime for the Japanese, is what continues to have anime appealing to them (Cavallaro, 2006a). Perhaps it is not surprising that anime appeals in both the East and the West as its development was influenced by American cartoons and Disney animations as well as by its own homeland culture (Cavallaro, 2006).
After viewing the anime 'Princess Mononoke' (Miyazaki, 2006), I am not surprised anime have a global appeal. The forest setting, though not similar to New Zealand's forest type, had a universal feel about it. The anime certainly transplants a person out of their own culture and world and into another 'timeless' place. The expressions given to the characters also seemed universal. Most people can understand a happy face or one of anger without necessarily hearing the laughter or rage. Many societies understand the devastation of the environment and humans' destructive tendencies. Every society has its women of the brothels, whether they are a legally accepted group or not. Most people can associate with disease and identify with the rejection which comes when a person has, for example, Leprosy. We are all motivated by passions, whether they be, for example, greed or selflessness. Most people can appreciate heroic deeds and suffering. This film, this type of anime, touches on what makes us human and the decisions which we, if not individually, must face as separate societies or even as a global community.
References
Cavallaro, D. (2006a). Introduction. In The anime art of Hayao Miyazaki (pp. 5-13). London: McFarland & Company.
Cavallaro, D. (2006b). Frame of Reference. In The anime art of Hayao Miyazaki (pp. 15-28). London: McFarland & Company.
Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.
Napier, S. (2005a). Why Anime? In Anime: from Akira to Howl's Moving Castle (pp. 3-14). Hampshire: Palgrave/Macmillan.
Napier, S. (2005b). Anime and Local/Global Identity. In Anime: from Akira to Howl's Moving Castle (pp. 15-34). Hampshire: Palgrave/Macmillan.
I found your comments on anime very interesting. I too can understand the appeal of anime worldwide. I can watch a touching anime and there will be tears rolling down my face, perhaps more than I would shed watching any regular movie. When In Japan I noticed how popular anime was and I can also see why many would want to escape from the stresses of everyday life through anime.
ReplyDeleteWhen it comes to anime and other mediums such as manga, I noticed in Japan that the content can vary and is readily available and visible on the shop shelves. I noticed that there were even manga books with explicit drawings featuring young guys together in very sexual positions and I was told that these books are often written and drawn by females to fulfill the fantasies of other women. While this surprised me at the time I think that in Japan it is seen ok so long as that it is fantasy and stays fantasy. Perhaps the Media like most countries are quick to lay the blame on the material rather than the individual who commits the crime. Japan has very tough laws on guns and a highly censored porn industry which is why I think they have low crime when you consider the millions of people who live there.
It is an interesting point you make about the religious right in the U S speaking out against their children reading the Harry Potter books and how you mention that Cavallaro (2006) and Napier (2005) make no mention about Japanese parents being concerned with their daughters’ involvement with shojo. I think it maybe that the religious right yields a lot of power and influence in America and therefore can bring to the fore issues which they feel strongly about, unlike Japan. I also think that culture plays a large part in this and in Japan there are some subjects or issues that are taboo or that a parent in Japan would just not discuss with their children.
I certainly agree with you when you say if shojo prevents men from abusing their wives or families all the good.(perhaps this is why shojo anime is not sensored like porn is in Japan which involves actual people).
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ReplyDeleteHi Shayne
ReplyDeleteGreat to have your feedback. I thought you might have a few ideas on this as I remember you mentioned something about manga/anime in another class when talking of your time in Japan. When in Japan, were you aware that it is mainly women in Asia who are employed in the anime workplace, “sought for their ‘delicate touch’” (p. 5), as I read in Lent (2000)? Interesting to note that Lent (2000) states the local staff may be better paid than staff in companies that have foreign investment. But Cavallaro (2006) mentions the technological changes taking place in the anime industry, so, I suppose with more work being done via computers, this means greater opportunity for male employment.
Hi,
ReplyDeleteI really like your post. Your points always so clearly and helps me to understand. I agree with about the anime is high or low cultural. It is quite difficult to consider it just high or low, because it includes difficult culture and difficult way to developing.
I agree your view about other anime's subgenres. mecha (giant robot) stories, android-based stories, cyberpunk, war sagas [and] political epics.For example, atsro boy is a famous one.
Jessica
Hi all,
ReplyDeleteGreat to see all the comments attached to posts in this Blog group - well done! And interesting comments. I can see this is a topic/ area of great interest ot you Shayne.
Once again an excellent post Sue - showing good understanding and exploration of both primary and critical texts. I agree the potential danger for young women is a concern. I also think the above post and comments really delve in to Japanese culture, from our 'outsider' point of views - though some of us have more experience of the culture than others. This is interesting in terms of the increasing global popularity of Anime and viewer response (such as our own) though I have to say I had no concerns with primary text this weeek in terms of its content/ taboos etc. Did you?
Hiya,
ReplyDeletegreat posts everyone, real insightful coherent stuff.
i found the idea of "Shojo" ("Shoujo" in Cavallo) interesting, almost promoting the traditional Japanese female roles, whilst remaining interesting to a younger audience, and pseudo sexual to an older male crowd. Very intriguing genre indeed, though its merits as an artform could be up for debate. And its agenda laden stories may exclude it from any serious international audience
Hi guys
ReplyDeleteThanks for the feedback.
Well, Esther, I suppose I did from the point of view that the ex-brothel women were portrayed in the usual cliche terms. I heard a very interesting interview on the radio about missionaries in Asia who say that young girls are forced into brothels to pay debts for their families, or their husbands force them to become prostitutes in order to get the money. The missionaries had set up a place where women could get out of the 'trade' if they want, which is a very difficult thing for them to do if it is dependent on them to pay back the family's debt. However, the missionaries stated these young girls were quiet and still modest, even living the horrific lives they had to live. This goes completely against the bawdy, loud women of Iron Town. Perhaps this was done for 'Western' audiences? Also, I found the humour to be attached to cliche aspects which made the humour very artificial indeed. Other than that, no, not at all.