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Titlebook: Anime from Akira to Princess Mononoke; Experiencing Contemp Susan J. Napier Book 2001 Palgrave Macmillan, a division of Nature America Inc.

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期刊全称Anime from Akira to Princess Mononoke
期刊简称Experiencing Contemp
影响因子2023Susan J. Napier
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图书封面Titlebook: Anime from Akira to Princess Mononoke; Experiencing Contemp Susan J. Napier Book 2001 Palgrave Macmillan, a division of Nature America Inc.
影响因子With the popularity of Pokemon still far from waning, Japanese animation, known as anime to its fans, has a firm hold on American pop culture. However, anime is much more than children‘s cartoons. It runs the gamut from historical epics to sci-fi sexual thrillers. Often dismissed as fanciful entertainment, anime is actually quite adept at portraying important social and cultural issues like alienation, gender inequality, and teenage angst. This book investigates the ways that anime presents these issues in an in-depth and sophisticated manner, uncovering the identity conflicts, fears over rapid technological advancement, and other key themes present in much of Japanese animation.
Pindex Book 2001
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and ,: The Monstrous Adolescentte of a welter of contradictory feelings, from tremulous hope to savage disappointment. This chapter discusses two forms of the representation of the adolescent body in Japanese animation, the confused and terrifying figure of Tetsuo in Otomo Katsuhiro’s 1988 tour de force . and the confused and com
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Doll Parts: Technology and the Body in psychology of its human protagonist, the final work to be discussed in this section, Oshii Mamoru’s 1995 film . (., although the English title is used as well) also turns inward in its exploration of the possibilities of transcending corporeal and individual identity. Less popular in Japan than ., o
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Carnival and Conservatism in Romantic Comedyslapstick, humor and revolves around what are usually known as “magical girlfriends.”. These magical girlfriends have genuinely magic powers and are somewhat older than the . characters in Miyazaki’s works. Furthermore, in contrast to the rather androgynous Miyazaki heroines, they are sexualized fig
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No More Words: ,, ,, and “Victim’s History”ividual autobiographical accounts of personal suffering. In this regard, they attempt to “speak for history” in a personal voice that, through the power of vivid images of suffering, destruction, and renewal, becomes a collective voice of the Japanese people. They are both essentially family dramas
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