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The Problem of Existence in Japanese Animation: Difference between revisions

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Back to [[Fanworks]]
S U S A N  J .  N A P I E R
S U S A N  J .  N A P I E R


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in pragmatism, and I myself grew up in the house that William and
in pragmatism, and I myself grew up in the house that William and
Henry James built for their mother in Cambridge, Massachusetts.
Henry James built for their mother in Cambridge, Massachusetts.
However, it’s not often that I have the chance to speak before such a
However, it's not often that I have the chance to speak before such a
diverse and erudite group, so I decided to throw pragmatism to the
diverse and erudite group, so I decided to throw pragmatism to the
winds and instead explore some questions that have become increasingly intriguing to me as I have continued my research in animation. In
winds and instead explore some questions that have become increasingly intriguing to me as I have continued my research in animation. In
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itself and our response to it. Paul Wells has said that “[a]nimation is
itself and our response to it. Paul Wells has said that “[a]nimation is
arguably the most important creative form of the 21st century ... it
arguably the most important creative form of the 21st century ... it
is the omnipresent pictorial form of the modern era”(1). Wells’s assertion may appear surprising to many of us in America. Unlike in Japan,
is the omnipresent pictorial form of the modern era”(1). Wells's assertion may appear surprising to many of us in America. Unlike in Japan,
where animated film is appreciated across the generations, as exemplified by the recent award-winning film Spirited Away (Sen to Chihiro
where animated film is appreciated across the generations, as exemplified by the recent award-winning film Spirited Away (Sen to Chihiro
no kamikakushi), which was the highest grossing film (including live
no kamikakushi), which was the highest grossing film (including live
action and foreign films) in Japanese history, animation is still regarded
action and foreign films) in Japanese history, animation is still regarded
largely as a children’s medium in America. Indeed, many older Americans (including my friends and colleagues!) seem uncomfortable with
largely as a children's medium in America. Indeed, many older Americans (including my friends and colleagues!) seem uncomfortable with
the notion of taking animation seriously as an art form.
the notion of taking animation seriously as an art form.


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In the West, the story is a different one. Narratives that put an
In the West, the story is a different one. Narratives that put an
equal emphasis on print and illustration have usually been confined to
equal emphasis on print and illustration have usually been confined to
children’s books, apart from the occasional exception of someone like
children's books, apart from the occasional exception of someone like
William Blake and his ethereally illustrated poetry. Print culture was
William Blake and his ethereally illustrated poetry. Print culture was
considered serious and adult, even while mass production made comics
considered serious and adult, even while mass production made comics
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To better understand the uncanny dynamic between animate and
To better understand the uncanny dynamic between animate and
inanimate, we might look at Masahiro Shinoda’s extraordinary live
inanimate, we might look at Masahiro Shinoda's extraordinary live
action film Double Suicide, a 1969 work based on Chikamatsu’s Love
action film Double Suicide, a 1969 work based on Chikamatsu's Love
Suicide at Amijima (Shinju ten no Amijima). This work uses live actors
Suicide at Amijima (Shinju ten no Amijima). This work uses live actors
interspersed with their puppet counterparts to offer a fatalistic view of
interspersed with their puppet counterparts to offer a fatalistic view of
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I would like to conclude with three examples from recent Japanese
I would like to conclude with three examples from recent Japanese
animation that problematize reality, each in very distinctive ways. The
animation that problematize reality, each in very distinctive ways. The
first is the aforementioned blockbuster hit  Spirited Away, by Japan’s
first is the aforementioned blockbuster hit  Spirited Away, by Japan's
most famous animation director, Hayao Miyazaki. The reasons behind
most famous animation director, Hayao Miyazaki. The reasons behind
the success of this film are generally easy to understand. It is in certain
the success of this film are generally easy to understand. It is in certain
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which in turn opens up to a bizarre fantasy realm dominated by a magnificent old-fashioned bathhouse whose customers are gods or spirits.
which in turn opens up to a bizarre fantasy realm dominated by a magnificent old-fashioned bathhouse whose customers are gods or spirits.


The first boundary crossing is of course the family’s progress through
The first boundary crossing is of course the family's progress through
the tunnel, an action that can be seen as a voyage into the unconscious
the tunnel, an action that can be seen as a voyage into the unconscious
or else a regression into infancy, since symbols of orality and anality
or else a regression into infancy, since symbols of orality and anality
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1980s. The theme park suggests the artificiality and ephemerality of
1980s. The theme park suggests the artificiality and ephemerality of
the bubble and, perhaps, the inevitability of its bursting. In contrast,
the bubble and, perhaps, the inevitability of its bursting. In contrast,
the final boundary crossing, Chihiro’s entrance into the genuinely fantastic bathhouse of the gods, can be interpreted as a rediscovery of the
the final boundary crossing, Chihiro's entrance into the genuinely fantastic bathhouse of the gods, can be interpreted as a rediscovery of the
vanishing culture of old Japan, a culture that is constantly in danger of
vanishing culture of old Japan, a culture that is constantly in danger of
being soiled by both outside influences and internal corruption. It is
being soiled by both outside influences and internal corruption. It is
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The disturbing and even threatening aspects of  Spirited Away are
The disturbing and even threatening aspects of  Spirited Away are
contained by the movie’s happy ending, in which Chihiro does indeed
contained by the movie's happy ending, in which Chihiro does indeed
rescue her parents and they return unscathed to the real world (although
rescue her parents and they return unscathed to the real world (although
the film includes a slightly supernatural tweak at the end, when the
the film includes a slightly supernatural tweak at the end, when the
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“There’s an afterglow of profound pleasure but also a sense of loss.”
“There’s an afterglow of profound pleasure but also a sense of loss.”


While Spirited Away falls largely on the “dream” side of the animation continuum, my next example, Mamoru Oshii’s film  Ghost in
While Spirited Away falls largely on the “dream” side of the animation continuum, my next example, Mamoru Oshii's film  Ghost in
the Shell contains elements of both dream and nightmare. Created by a
the Shell contains elements of both dream and nightmare. Created by a
director clearly familiar with both Christian and Platonic concepts (in
director clearly familiar with both Christian and Platonic concepts (in
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tracking down cybervillains, spends her time ruminating about whether
tracking down cybervillains, spends her time ruminating about whether
she has a “ghost” (essentially a soul or mind). In the course of her
she has a “ghost” (essentially a soul or mind). In the course of her
work she encounters a sentient computer program known as the Puppet Master, which she is supposed to capture and destroy. At the film’s
work she encounters a sentient computer program known as the Puppet Master, which she is supposed to capture and destroy. At the film's
denouement, however, the Puppet Master convinces her to fuse with it/
denouement, however, the Puppet Master convinces her to fuse with it/
him to create a new form of electronic offspring that will be “born in
him to create a new form of electronic offspring that will be “born in
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Ghost in the Shell takes on many traditional science fiction tropes
Ghost in the Shell takes on many traditional science fiction tropes
(Arthur Clarke’s 1953 novel Childhood’s End also deals with the creation of a kind of Overmind), but the film’s extraordinary visuals,
(Arthur Clarke's 1953 novel Childhood's End also deals with the creation of a kind of Overmind), but the film's extraordinary visuals,
combined with the complex three-dimensional character of Motoko,
combined with the complex three-dimensional character of Motoko,
allow for a fresh treatment of a complex subject. In perhaps the film’s
allow for a fresh treatment of a complex subject. In perhaps the film's
most memorable scene, Motoko, most of her torso blown away by a
most memorable scene, Motoko, most of her torso blown away by a
deadly government assault, lies on the floor of a deserted glass building
deadly government assault, lies on the floor of a deserted glass building
preparing to receive the Puppet Master. The “camera” shifts to her
preparing to receive the Puppet Master. The “camera” shifts to her
point of view as she gazes up at the building’s glass dome and sees for
point of view as she gazes up at the building's glass dome and sees for
an infinitesimal moment what appears to be a winged creature floating
an infinitesimal moment what appears to be a winged creature floating
toward her, accompanied by a drifting feather. The implication that
toward her, accompanied by a drifting feather. The implication that
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viewer with the feeling of having been offered a fleeting glimpse into a
viewer with the feeling of having been offered a fleeting glimpse into a
totally Other world. No doubt live action cinema could achieve something similar to this surreal moment, but I suspect that the materiality
totally Other world. No doubt live action cinema could achieve something similar to this surreal moment, but I suspect that the materiality
of live action limning Motoko’s battered torso and the shattered glass
of live action limning Motoko's battered torso and the shattered glass
of the building would undercut the scene’s ethereal beauty.
of the building would undercut the scene's ethereal beauty.


My last anime example,  Serial Experiments Lain (the title is in
My last anime example,  [[Serial Experiments Lain]] (the title is in
English), also contains numerous evocative moments, but these moments
English), also contains numerous evocative moments, but these moments
are more likely to evoke nightmares than dreams. Unlike the more
are more likely to evoke nightmares than dreams. Unlike the more
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English over the credits) “I am falling, I am fading,” and, like Spirited
English over the credits) “I am falling, I am fading,” and, like Spirited
Away, it follows a young girl (Lain) whose journey into a liminal Other
Away, it follows a young girl (Lain) whose journey into a liminal Other
world becomes a drama of self-discovery. In the case of Lain, however,
world becomes a drama of self-discovery. In the case of [[Lain Iwakura|Lain]], however,
this is not a fantasy realm but rather the world of cyberspace, an environment she enters after her father gives her a fancy new computer that
this is not a fantasy realm but rather the world of cyberspace, an environment she enters after [[Yasuo Iwakura|her father]] gives her a fancy new computer that
becomes her gateway to the world of the Wired. Lain becomes more
becomes her gateway to the world of [[the Wired]]. Lain becomes more
and more involved in the Wired at the same time as the Wired seems to
and more involved in the Wired at the same time as the Wired seems to
begin impinging on outward reality. Doubles of Lain appear out of
begin impinging on outward reality. Doubles of Lain appear out of
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(Source: [http://www.amphilsoc.org/sites/default/files/490106.pdf])
(Source: [http://www.amphilsoc.org/sites/default/files/490106.pdf])
[[Category:Essays]]
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