The Crossover of Anime and Japanese Theatre

Kayson Carlin

Bowling Green State University

October 10, 2018

 

The Crossover of Anime and Japanese Theatre

            Perhaps the most recognizable Japanese theatre performance is Kabuki, known for it’s lavish costumes, make-up, and dramatic effects. In the late 1960’s, a new sub-genre called Super Kabuki was birthed, sometimes referred to as the “Hollywood” of Japanese theatre. Kabuki actor Ichikawa Ennosuke formed his own company with the idea of modernizing Kabuki. Ennosuke trimmed dialog, sped up the delivery of lines, and alternated fast-moving action scenes with slower ones that reveal emotion and characterization. He employed modern set, costume, and lighting designers, and revived theatrical trickery like quick costume changes, cascades of real water on stage, and flying on wires over the stage and out over the audience (Hornby p.517). This type of freedom in creativity and performance matches particularly well with anime, which commonly employs fantastical settings, complex physical actions, and deep characterization on screen. Using techniques and stunts from Super Kabuki, anime stage adaptions have found it’s niche within Japanese theatre.

Within a few years of the emergence of Super Kabuki, anime and manga were introduced to the stage. In the early 1970’s, the Takarazuka Revue, an all-female performance troupe, saw declining popularity in their productions. Fearing the end of the company, they sought after new, popular stories and adaptions to bring in greater audiences. In 1974, the Takarazuka group unveiled one of the first anime adapted performances ever; Riyoko Ikeda’s Rose of Versailles (1972). This led to an increased interest in not only theatre, but the respective source material as well. For the next 30 years, Japanese theatre would see more popular culture, such as anime and manga, make it’s way to the stage, including the supremely popular Sailor Moon in the mid-1990s. However it wasn’t until 2003, with the production of Prince of Tennis the Musical, that theatre saw such an influx of anime derived adaptions. “If you see a video clip of this musical it becomes abundantly clear who the audience is: every major event in the show is met with a chorus of screaming female voices. And the production knew who the audience was, too: there were even completely unnecessary “locker room” scenes that seemed to exist just so the protagonist could be seen taking off his shirt (Sevakis, 2017). Prince of Tennis attracted a large female audience, due to “fanservice” scenes not originally included in the manga or anime, and “arguably made it into a phenomenon” (Sevakis, 2017). Despite it’s relatively low budget, it proved to be a success and garnered demand for more adaptations.

One major overlap of stage and anime that should not be ignored, is super sentai performances, dating back to 1975. Super sentai refers to a group (literally “taskforce”) of heroes in masked disguises that fight evil, demonstrating the power of teamwork and justice. Though “Super Sentai” is technically a brand name, there are many live shows directly inspired from it, and always aimed at children. These shows often involve dramatic action scenes and exaggerated acting, as seen in super kabuki. Many times, after the super sentai performances gained enough of a fanbase, animated specials would be produced for capitalization, eventually leading to full anime series for broadcast. One facet of acting that originated in kabuki, found its way into sentai, and then took place in anime, is the concept of “mie”. Mie is a pose struck by an actor, who then freezes for a moment (Japan Arts Council, 2018), to draw attention to an important part of the play, such as the introduction of a new character, showcase powerful emotions, or even to display their costume. This transferred to sentai shows, as performers (mostly protagonists) would do a mie when they entered the stage, highlighting their arrival. Children would often call the hero’s name, similar to a kakegoe in traditional kabuki. This aspect then made its way to the animated product, and then other anime, providing a visual cue to viewers. One example is Sailor Moon, in which all the main characters have their own signature pose when they arrive to fight the bad guys. These poses then became a trademark of certain characters and turned into a tool for merchandising. Although most anime nowadays has strayed from specific posing of their characters, mies can still be seen in many superhero anime.

When talking about theatre adaptations of anime, it’s important to recognize there are three main types of adaptions; super kabuki, stage plays, and musicals. While they may seem similar, each has its own uniqueness in how it interacts with anime and popular culture. Super Kabuki is actually a trademarked name, so very few anime and manga-based performances are specifically described as super kabuki due to licensing issues. Two of the more famous ones are Naruto: The Live Spectacle (2018) and Super Kabuki II: One Piece (2015). The former is extremely faithful to the style of the original manga, while the latter combines traditional kabuki aesthetic with anime designs. For example, the majority of the actors in Super Kabuki II: One Piece have white, painted faces with bold make-up (AnimeSamurai, 2016) to further pronounce facial features. Even the costumes are reminiscent of traditional kabuki outfits, though expertly meshed with the modern style of the anime character’s; Luffy’s trademark red jacket is replaced with a red happi, incorporating historical Japanese culture.

Stage plays are the most commonly performed anime-based theatre production. Like any artistic medium, the stage play provides fans with a new experience, emphasizing interactivity and real-life immersion into the characters and their stories (Nora, 2018). These productions are given more freedom to stay faithful to the source material, in terms of costume design, action scenes, and story progression. In Yona of the Dawn (Tsubota, 2018), stage design and direction are more similar to western stage plays. There are multiple layers of backgrounds for characters to appear on, as well as hidden exits for actors to disappear at the end of their scene. Music and sound effects are prerecorded as opposed to performed live, despite the fact that traditional instruments such as the koto and shamisen can be heard in the background. The same is true for another stage play, InuYasha (Takahashi, 2017). Though the setting takes place in feudal Japan and the score is entirely composed of shakuhachi (bamboo flute), koto, and the like, the music is prerecorded for convenience. It’s also worthwhile to note that some scenes contain prerecorded dialogue for the actors to lip sync; this is usually done during a scene with complex choreography to prevent the actors from using all their stamina, as well as provide better audio quality to the audience.

There’s no limit to the type of adaptions produced; 2018 will see a stage play about scantily-clad girls fighting evil with magical katanas (Animate Times, 2018). A new play of the science fiction series, Gundam 00, will debut in 2019 (Sunrise, 2018), though it’s not yet known if the signature giant robots will be large puppets or projections.

The third category of anime theatre is musical adaptions. While some are akin to stage plays with musical numbers thrown in, a substantial amount are centered on a specific singer and/or band. These are unique because they’re based on Japan’s “idol culture”. Recent years have seen a surge of fictional girl groups and boy bands, especially when it comes to mobile games. Players can dress up the singers, tap along to their songs, and unlock stories that progress the over-arching plot. As the mobile game’s popularity increases, so does the chance for an adaption of either anime or live-action musical. More often than not, the games are developed into anime series, followed by musical stage performances featuring the voice actors from the original game. This is something to note because the themes and narrative are exclusively music-centered, as opposed to a storyline in which songs are simply added to further development. As an example, High School Star Musical, or Starmyu (NBC Universal Entertainment Japan, 2016) is about a group of boys who attend a high school for rising stars in music and dance. The songs are performed only when the characters are giving some sort of concert within the script, as opposed to a seemingly random musical number that appears in western musicals. This differentiates anime musical adaptions from other types of anime-inspired theatre, because it specifically focuses on the music as a way to sell the product (i.e. the anime, game, or merchandise of a favorite singer). In a way, this could be described as “idol theatre”, as it is always about an idol group of some sort rising to stardom.

Production for anime-inspired theatre is usually taken on by large troupes in major cities, such as Tokyo, Kyoto, or Osaka. This is because acquiring the rights to said anime can be difficult and expensive, as the licensing belongs to either the original manga artist or the animation studio. At this time, it is unknown how negotiations are made in terms of profit/sales and financing between the theatre and license holders. Some theatres, such as Himawari Group, specialize in only a few anime based productions of Rurouni Kenshin (2019), and Free! Dive to the Future (2018). Most of their performances however, are non-anime based (Himawari, 2001). On the opposite spectrum is 2.5 Dimensional Musical Association, an organization that only does productions based on anime, manga, and video games. 2.5 Dimensional Musical Association, also known as 2.5D Theatre is described as “theatrical presentations based on Japanese manga, popular animation, and video games. The meaning implies such theatrical shows exist somewhere between 2D, the realm of manga, anime, and video games, and 3D, the realm of the theater” (Japan 2.5 Dimensional Musical Association, 2013). Though the name of the company explicitly includes “musical”, there are also performances of stage plays, comedy, and drama. Previous productions include Sengoku BASARA (2009), Pretty Guardian Sailor Moon (2013), Death Note (2015), and Touken Ranbu -Online- (2017). 2.5D Theatre also employs cutting edge technology in their shows, such as drones, holograms, and video projections. They even offer special glasses that will translate the play directly on the eye piece as subtitles, in one of four languages (F. Corinna and F. Gali, 2016). Technological advancements can propel theatre, especially in the case of anime, where realism is not of great concern.

Different types of theatre itself has also influenced a variety of anime series. Kabuki-bu (2017) is a recent series that focuses on a boy attempting to create a kabuki club at his high school. Another recent series, Hanayamata (2014), centers on a blonde-haired foreigner who comes to Japan to learn dances such as kagura and yosakoi. The story follows her efforts to get Japanese locals interested in the traditional art. Bungaku (puppet theatre) is represented in Puppet Master Sakon (1999), though is not centered on the art itself, rather taking a supernatural mystery route. Series such as Glass Mask (2005) and Kaleido Star (2003), involve theatre more explicitly as both settings take place in acting and performing troupes, dealing with the challenges that arise when on stage. Theatre, both western and eastern, greatly influence the narrative and composition of Princess Tutu (2002), in which episodes are displayed as if it were a stage play. Even anime without an obvious element of Japanese theatre can sometimes find ways to sneak in this cultural aspect. For example, in Macross Frontier (2008), a science fiction story about fighting aliens in giant robots, the main character comes from a prestigious kabuki family where he is famous for his female roles. Furthermore, it takes place in a hybrid city of Tokyo and San Francisco, displaying characteristics of Japanese theatre as well as Chinese opera and American plays.

Interestingly enough, the west has seen some Japanese anime and manga on its own stages. In 2014, Company One in Boston, Massachusetts, debuted Astro Boy and the God of Comics, based on the internationally famous manga artist Osamu Tezuka and his 1950’s manga (Aucoin, 2014). When looking at theatrical productions of pop culture in both America and Japan, there’s a contrast between audience’s expectations. Westerners are familiar with plays that rely heavily on dialogue and technical realism, with little in the way of acrobatic choreography. After all, if they wanted to see action, wouldn’t they go to a movie instead? These plays clearly require a suspension of disbelief that is not often asked of Westerners (Sevakis, 2017). Japanese audiences, on the other hand, have familiarity in imagining and expressing what isn’t tangible. A good example is the use of fans, particularly in kabuki and rakugo, where the fan can be used in place of the actual object, such as a weapon. For Western audiences, it would be much more acceptable to have the actual prop, but in Asian theatre it is considered perfectly believable. Such techniques ‘transcend the nature of what is possible’ (Ivanova and Vickery-Howe, 2017), allowing for the fantastical side of anime and manga to show through. they carry a tremendous expressive potential because they engage the audience’s spatial, interpersonal and linguistic aptitudes which allow them to create meaning by drawing simultaneously on images and movement, gesture and body language, acoustics (chant and rhythm) and dialogue (Ivanova and Vickery-Howe, 2017).

The crossover between anime and theatre is a strange, but not a completely uncalled for practice. Given the immense popularity of anime, in both Japan and overseas, it was only a matter of time before it made its way into other creative aspects. Just as theatre has been influenced by anime, so has anime by theatre, as the arts are irrevocably intertwined. It could be argued that this has a negative aspect; some claim that combining a high culture entertainment as theatre with popular culture only brings down its sophistication, and should be kept “pure”. Others argue that incorporating pop culture breathes fresh air into theatre, which risks growing stale. When done well, however, anime and performing arts can have a symbiotic relationship. It definitely encourages appreciation for the craft of theatre and for the anime fan, it brings them closer to the stories and characters they love (Nora, 2018). After all, both are mediums used by storytellers to invite others into another world.

 

 

References

A., Nora. “Of Song, Dance, and Anime: A Look At Anime Stage Play Adaptations.” 15 February 2018. Akibento. <https://akibento.com/blog/2018/02/15/song-dance-anime-look-anime-stage-play-adaptations/&gt;.

Animate Times. 舞台『刀使ノ巫女』メインビジュアル解禁. 5 10 2018. <https://www.animatetimes.com/news/details.php?id=1538722857&gt;.

Aucoin, Don. “Company One’s ‘Astro Boy’ a sci-fi parable with punch.” 22 July 2014. The Boston Globe. <https://www.bostonglobe.com/arts/theater-art/2014/07/21/company-one-theatre-astro-boy-and-god-comics-sci-parable-with-punch/8UZZbOgXmMeUUc7fkvSBmK/story.html&gt;.

F., Corinna and Gali F. Blog and News. 2016. <http://animeonstage.com/?page_id=22&gt;.

Himawari. 事業紹介. 2001. <http://www.himawari.net/about/company.html&gt;.

Hornby, Richard. “Kabuki Goes Hollywood.” The Hudson Review 61.3 (2008): 516-522.

InuYasha. By Rumiko Takahashi. Tennozu Galaxy Theater, Tokyo. 19 April 2017.

Ivanova, Maggie and Alex Vickery-Howe. Dramaturgy of Mobility: Crossover and Fusion. Melbourne: La Trobe University, Theatre & Drama, 2017.

Japan 2.5 Dimensional Musical Association. 2.5D AiiA Theatre. Shibuya, 2013. Brochure.

Japan Arts Council. Mie. 2018. <http://www2.ntj.jac.go.jp/dglib/modules/kabuki_dic/entry.php?entryid=1272&gt;.

NBCUniversal Entertainment Japan. Shuffle Revue. n.d. 7 October 2018. <http://star-mumu.com/sr/&gt;.

Samurai, Anime. “Anime Stage Plays.” YouTube, 11 May 2016. <https://www.youtube.com/playlist?list=PLVhXmWqxTKXcqbvd1yOCs2Oc_dgDCv668&gt;.

Sevakis, Justin. Answerman. 8 February 2017. <https://www.animenewsnetwork.com/answerman/2017-02-08/.111904&gt;.

Sunrise. 舞台『機動戦士ガンダム00』. 27 August 2018. <http://www.gundam00.net/stage/&gt;.

Takarazuka Revue Company. History. n.d. 10 October 2018. <http://kageki.hankyu.co.jp/english/history/index.html&gt;.

Yona of the Dawn. By Fumi Tsubota. Dir. Takuya Matsumoto. EX Theater Roppongi, Tokyo. March 2016.

Beyond the Binary: Gender Performances in Asian Theatre

Kayson Carlin

Bowling Green State Univeristy

November 28, 2018

 

Beyond the Binary: Gender Performances in Asian Theatre

Recent years have seen a surge in attention to issues concerning gender, as if the topic were a new phenomenon. However, history is saturated with gender issues, from defining what gender is exactly, to determining what role one should play in life based on genitalia, to debating if gender has a spectrum of identities or forms. In the world of arts, the line between male, female, and other is frequently blurred, especially in the performing arts which pays great attention to the human form. Theatre is notorious for crossing this line. It should be noted though, that the idea of gender itself varies from region to region. What is considered masculine, feminine, or androgynous in western theatre differs from that of Asian theatre. As such, theatre in Asia includes great variation when it comes to performances on the gender spectrum.

Japan has one of the most notable reputations for gender bending not only on the stage, but in other popular entertainment as well. There exists a sort of androgyny for what is considered attractive, as seen in comics, television, film, and celebrities. This could be partially explained by Japan’s history of cross-dressing entertainment, such as Takarazuka and Kabuki’s onnagata.

The term onnagata refers to a female impersonator on the kabuki stage. Women in kabuki groups often consisted of nothing more than prostitutes (Bowers p.44) or were considered too “alluring” for the audience to watch, and resulted in their nation-wide ban on performing in the mid-17^th century. From 1629 on, male actors, the onnagata, played women’s roles (Leiter p.495). Such actors were specifically designated female roles rather than portraying both men and women on stage. Far from what may be thought in the west, this was, and still is, a respected art. In the onnagata‘ s early years, roles of power went to male-role actors while dance was the onnagata‘s specialty (Leiter p.502). From this portrayal of women, the onnagata created an idealized version of femininity, based on what men thought women should be like. They created an abstract idea of a woman, becoming a stylized version instead of someone specific (Scott p.3). Some accounts even included these actors who would live as women to better understand and perform femininity. Kabuki crossdressing is mainly a matter of men dressing as women rather than the reverse (Leiter p.512), though this later changes when women are allowed to perform again.

In 1629, any appearance of women on stage were forbidden, and until the 19^th century the ordinance remained tacitly in effect (Bowers p.44). Women were limited to behind-the-scenes work, such as costume construction. In the late nineteenth century, western-style theatre was introduced to Japan and challenged the custom that only men were allowed to perform on the stage (Chen p.54). Due to it’s influence, the constraints on gender began to loosen, and women stepped into the light. Although theatre offered women a platform, its policy was heavily informed by the male stance, and its categorization of gender roles on the stage, in fact, accorded with Japanese social expectations of men and women (Chen p.58). The Takarazuka Revue, founded in 1913, was one of the first all-female performing groups in Japan. Less than a year later in 1914, The Takarazuka Girls Revue gave its first performance in the Paradise Theater, a converted indoor pool (Takarazuka Revue Company). Despite women playing the roles of men, the gender binary is strictly enforced. On the Takarazuka stage, gender is constructed in two categories; one is the otokoyaku (an actress playing the male role) and the other is the musumeyaku (an actress playing the female role). The categorization of otokoyaku and musumeyaku reinforces gender stereotyping of both male and female roles (Chen p.64). The two different genders on the Takarazuka stage are made distinct by the use of stylization in gesture, movement and voice; the otokoyaku emphasizes masculinity as she plays the male role whereas the musumeyaku highlights femininity as she plays the female role (Chen p.58). It’s interesting to note that while male characters (specifically love interests) attempt to adhere to the binary, they are not extremely”manly”, and instead are portrayed as androgynous with a masculine edge. Similar to the onnagata, otokoyaku is the idealized version of what women want men to be; strong and capable yet in touch with his feminine side.

China has an extensive history of traversing gender, most notably Mei Lanfang who was regarded as the greatest nandan (female impersonator) in living memory (Li p.39). This type of cross-dressing, male to female, can be said to have existed several hundred years prior to the Tang Dynasty. The earliest recorded instance of female cross-dressing (female to male) is found in the eighth century Tang Dynasty when actresses played the role of the male officer in a theatrical act known as “The military counselor” (Li p.33). However Chinese opera, and theatre in general, has gone through dramatic changes depending on political authority. In the Yuan Dynasty, under Mongol rule, male and female performers were free to appear on stage together. In fact, women prospered in theatre; the first fully developed Chinese theatre to emerge in the Yuan Dynasty favored female players and female cross-dressing (Li p.40). Furtermore, each play was, very uniquely, written as either a female role-type script (danben) or a male role-type script (moben). Despite this categorization, there were female players who, apart from playing the leading female role, also cross-dressed to play the leading male role, and equally certain that there were also men who played the leading male role (Li p.50). In the subsequent Ming Dynasty, however, such freedom was reigned in due to backlash of “not being Chinese enough”. Basically, anything that flourished in the Yuan Dynasty was seen as Mongolian, and needed to be replaced with more “Chinese” ways of thought. It was with this re-emergence of Neo-Confucianism under such conservative return to “Chinese” culture in Ming China that women were tightly confined to the private sphere (Li p.58). As such, began the stage practice of separating male and female actors. Due to these resrictions, cross-dressing became a necessity for the sake of the performance, especially for female roles, as women were restricted from public stages.

When discussing gendered performances in Chinese theatre, it’s important to mention “The Butterfly Lovers”, arguably the most celebrated folk tale in Chinese culture (Li p.109). The general narrative revolves around Zhu, a girl disguised as a boy in order to attend a prestigious school, and her male best friend, Liang, who is unaware of her true gender. After studying together for three years, Zhu is called home for an arranged marriage. She reveals her true gender to Liang, and despite falling in love, she is forced into her arranged marriage. Liang soon becomes ill, and dies, and at his funeral, Zhu commits suicide by throwing herself into his tomb. The two are then said to have turned into butterflies. While the story itself plays with gender, theatre has taken it to a new level for performance. The character of Zhu bends gender expectations, and as such, can be difficult to cast. Historically speaking, when women were prohibited from the stage, men would play female roles, as mentioned above. The actor for Zhu, then, would be a male, playing the role of a female, disguised as a male, resulting in a double cross-dressing act. In the Yuan period, when women performed on stage, the character of Liang would occasionally be played by a woman. In these instances of cross-play, it is important to note that the traditional Chinese construction of masculinity manifests itself in a variety of representations and is in many ways different from today’s Euro-American notions of masculinity (Li p.125). Therefore, having men and women playing oppsite sexes, is less transversive than western expectations. Today, “The Butterfly Lovers” is a popular performance put on by the Yueju opera in mainland China, which is basically female and is dominated by female players, although there are often a couple of male actors in each troupe (Li p.112). In the staging, on the physical level of the players, there are two women; while on the level of dramatic representation of the characters, it is a man and a woman (Li p.125), though the character of Zhu complicates which is which. The gender-bending of this play is a cornerstone in Chinese theatre and gender theory.

India has a complex approach when it comes to gender and theatre. Like Japan and China, Indian theatre has a history of dividing performers along the gender binary of male and female. However, in India there are people known as hijra, who are culturally recognized as a third gender, neither male nor female. This adds another layer to gendered performances on stage that is unique, though somewhat ambiguous and under researched.

Chhau is a performance belonging to the three contiguous States of Jharkhand (Seraikela), Orissa (Baripada) and West Bengal (Purulia), involving vigorous dance movements based on mythology, and is traditionally performed by males (Mehta p.1). Some movements, however, are modeled after the daily housework of women, such as sweeping, fetching water, and grinding spices. The Chhau dance at Purulia does not have many female characters, since its themes are from episodes of the epics of Mahabharata that do not have such characters. Women as performers have not yet been introduced to Chhau at Purulia, while Chhau at Seraikela and Mayurbhanj have an array of female characters and women as participants (Mehta p.10). Traditionally, Chhau had restricted women as performers, as the only women who performed in public were dancers known as devdasis, a type of courtesean or prostitute. Therefore Chhau is a heavily male dominated art form having had the traditional hegemony of not only male performers, but teachers and instrumentalists as well (Mehta p.39). Hijra, who are more commonly born male or intersex, were then designated to female roles (if there were any). Often this was one of the only ways to earn money, as their gender ambiguity caused scorn and adversity in mainstream society. Even today women do not have exclusionary rights to female performance roles as male artists continue to perform the female roles (Mehta p.74), though this is rapidly changing as there is no official decree banning women on stage. Where this leaves the hijra is unknown.

The common thread seen not only in Asian theatre, but theatre around the world is the restriction of the female sex at one point or another. As a necessity, cross-dressing proliferated, and blurred the lines of gender. Men performing female or feminine roles took precedence, despite the existence of women playing male roles, partly due to the fact that there was not much academic concern of them until fairly recently. In fact, some performers cannot be distinguished between male or female, resulting in being overlooked by historians. Thus, the gender binary of male and female in theatre is constantly being rewritten as new information comes to light. Perhaps in the future, this binary will be replaced by a spectrum of sex, gender identity, and gender expression, if it hasn’t already.

 

 

References

Banerji, Anurima. Odissi Dance: Paratopic Performances Of Gender, State, And Nation. New York University: UMI, 2010.

Bowers, Faubion. Japanese Theatre. Toronto. Canada: University of Michigan Press, 1952. Book.

Chen, Yilin. “Gender and homosexuality in Takarazuka theatre.” Performing Ethos 1.1 (2010): 53–67.

Kothari, Sunil and Avinash Pasricha. Odissi, Indian classical dance art. University of Michigan: Marg Publications, 1990. Book. 26 November 2018.

Leiter, Samuel L. “From Gay to Gei : The Onnagata and the Creation of Kabuki ‘s Female Characters.” Comparative Drama 33.4 (2000): 495-514.

Li, Siu Leung. Cross-Dressing in Chinese Opera. Hong Kong: Hong Kong University Press, 2003.

Mehta, Gouri Nilakantan. Pan Indian Identities Of Female Performers. Miami University: UMI, 2004.

Scott, Margaret. “Transformer Controversial Kabuki star Tamasaburo Bando.” Los Angeles Times 22 May 1994. Newspaper.

Takarazuka Revue Company. History. n.d. 10 October 2018. <http://kageki.hankyu.co.jp/english/history/index.html&gt;.

 

Gender Representation and LGBTQ+ Portrayal in Steven Universe

Kayson Carlin

Bowling Green State University

April 18, 2018

 

Gender Representation and LGBTQ+ Portrayal in Steven Universe

            Cartoons have spread far and wide, and cover a great variety of topics, from educational television shows for children, to nationalistic propaganda during wartime. Certain themes addressed in cartoons, like all media, change with the societal and/or political climate. For example, in the 1950’s, American cartoons have included references to the Cold War. Even characters were coded as Russian or communist. At that time, it was a relevant issue for audiences who watched international political tension rise day after day. 60 years later, we find ourselves concerned with different issues that affect our daily lives, such as representation of certain minority groups. Today’s cartoons are beginning to reflect ideas of gender and queerness by either explicitly acknowledging it, or subtly coding characters, similarly to certain ethnicities and affiliations of those from time gone by. However, there is concern when it comes to proper representation and how certain groups of people are displayed. Steven Universe (Sugar, 2013) is a fairly recent, ongoing animated series on a major network, that approaches such issues in a positive way, without becoming overbearing or preachy. It contains characters that are considered gender-variant, and queer, and takes their struggles seriously, giving them validity where other cartoons may play them off as a joke. Steven Universe provides visibility for these underrepresented groups.

The 2013 American cartoon Steven Universe centers on a young boy, Steven, and his family of gemstone based aliens as they protect earth from invaders who would wipe out the human race. Millenia before the start of the series, Earth was a colony for these gemstone aliens, until a soldier named Rose Quartz, rebelled. Believing that life on Earth was precious and should be spared, she gained a following of like-minded gems, eventually leading a rebellion and succeeding. In the present, the story continues with Steven, who learns that he is half-human, half-gem, the first hybrid ever in the universe, having inherited his gemstone from his mother, Rose Quartz, who gave up her physical form so that he would live on in her place. With him are the last three remaining gems on Earth; Pearl, Garnet, and Amethyst. Together they help each other heal after the loss of their beloved leader, Rose Quartz, as well as defend the planet from the returning threat of the gemstone home world.

In the lore of Steven Universe, the gemstone based beings are technically sexless, as they are quite literally humanoid forms of rocks. However, every single gem shown in the series thus far is considered female. From this fact, Steven Universe makes a distinction between sex and gender as two different concepts, portraying gender as a social construct. Gems do not have human anatomy, and as such, they have a “fluid, self-described gender” (Tishma) of whatever they wish; in their mind/personal identity, or how they present themselves. Interestingly, every gem uses feminine pronouns i.e. “she/her”, despite not being anatomically female. Though the details of why this is have not been discussed, it’s created a starting point for gender variant characters, especially when looking at how some gemstones present.

A central figure, Rose Quartz, is a gem that embodies femininity. Despite starting a savage war against her own people, she is portrayed as a kind, just, and protective motherly character. She wears a long, white gown, and often gracefully floats just above the ground. Her hair is pink, a color commonly associated with femininity, and her preferred human form is that of a bigger-boned woman. In fact, her entire character theme is associated with the color pink and rose motifs. From these characteristics it is evident that Rose represents someone on the effeminate female side of the gender spectrum. In stark contrast is the antagonist, Jasper, who is on the masculine side of the gender spectrum. Jasper is a tall, muscular humanoid with a sharp jawline and husky voice. She is seen wearing trousers and boots as opposed to more “flowing” clothing such as skirts or dresses that other gems have been known to wear. She is a soldier, physically strong, huge, headstrong and unrelenting (Tishma). Aside from her physical appearance, Jasper also displays male-coded personality traits, such as a disdain for emotions that she considers weak. Within the storyline, her position of power is one often filled by men, and she often bullies others to go along with her. She has no interest in anything outside of combat, and victory, again landing her squarely in the hyper-masculine square (Tishma). However, Jasper is still considered female, using she/her pronouns. This can be read as a representation that not everyone who is female is necessarily feminine. With Rose Quartz and Jasper, two vastly different characters, Steven Universe is portraying gender expression variance by having effeminate females, hyper-masculine females, and everything in between.

Steven is the only gem considered male, as he is half human and thus has a human, male body. Despite this, he has many characteristics that are typically coded as female. He is gentle, caring, and wishes to avoid conflict by meaningful communication instead of fighting and violence. He readily expresses his emotions, such as fear, sadness, loneliness, and most importantly love, unlike a typical male protagonist in many cartoons. And while his confidence, independence, and adventurous spirit classifies him as masculine, his deep nurturing core makes him feminine (Tishma). Further evidence of this is shown in battle, where his weapon of choice is not actually a weapon at all. While the gems wield spears, swords, and whips, Steven uses a pink shield to protect others instead of inflicting harm. He even has healing powers when his friends and family are injured. Both of these aspects are normally reserved for female characters, who are commonly portrayed as unwilling to fight, preferring to utilize their “maternal instinct” to heal and care for others. These traits are not used to reflect negatively upon Steven nor do they detract from his bravery and other such heroic traits. Thus, his character provides viewers with exposure to a male with stereotypically feminine traits being taken seriously (Clark p.82). The show takes this a step further in an episode called “Sadie’s Song”, where Steven performs a song onstage, decked out in a dress, heels, and make-up. The event is not used to embarrass, emasculate, or punish his character, rather, the crowd supports him, not because the drag is funny, but because they genuinely enjoy the performance (Clark p.83). Continually throughout the series, Steven’s character is used to break and challenge gender roles and norms.

Midway through the first season of Steven Universe, viewers are introduced to the concept of fusion- when two (or more) gems become so in sync, they fuse together to become an entirely new gemstone. This is commonly done when one gem cannot complete a task by themselves, and enlists another to utilize both their strengths. Fusion can also happen when two gems form a strong bond and desire to be with the other, which will be discussed later. Steven, being half-human, half-gem, can fuse with both gems and other humans, which is how the character Stevonnie is created. Stevonnie is a being created from the fusion of Steven (male) and his friend Connie (female), and uses they/them pronouns. Since they are literally a combination of male and female, Stevonnie has an androgynous appearance, neither distinctly masculine or feminine. They are simply described as “an experience” (McDonnell p.78). Stevonnie can be viewed as a representation of a transgender character, intersex character, agender character, non-binary character, and/or a genderfluid character (Clark p.51). Again, Steven Universe is clearly displaying gender, gender presentation, and sex as separate concepts.

As stated in the previous paragraph, fusion is a strategy to make gems stronger, as well as a metaphor for a relationship. Garnet is a central character that is a permanent fusion between Ruby and Sapphire, two gems that are portrayed as having a romantic relationship. Since the gems use female pronouns, many interpret this relationship between Ruby and Sapphire as a lesbian relationship and see Garnet as a physical embodiment of a lesbian relationship (Clark p.54). She is portrayed as strong and level headed, formed out of Ruby and Sapphire’s strengths and often described as “better together”. This provides a positive representation of not only a same-sex relationship, but a healthy one as well.

Pearl and Rose Quartz are other primary characters that can be considered LGBT. In flashbacks and soliloquies, Pearl discusses her devotion, and almost obsession of Rose. She recounts how she risked her life to protect their leader, and how jealous she became when Rose began seeing Steven’s father. On multiple occassions, Pearl has even asked why Rose chose Steven’s father over her. Because of this, Pearl’s orientation is considered to be a lesbian due to her perceived romantic love and devotion for Rose Quartz (Clark p.45). This is further cemented, when she later develops a romantic crush on a pink haired mystery woman she meets at a party. On the other side of the equation is Rose Quartz, who conceivably had feelings for Pearl as well before she fell in love with a human man. From this perspective, it can be argued that Rose’s orientation is bisexual.

The inclusion of characters who are not cisgender or heteronormative not only provides a unique perspective in storytelling that is often left out, but also serves as a connection for LGBT+ youth. Steven Universe is obviously a show targeted towards the younger generation, and young people are becoming more familiar with queer identities as a result. It bridges the gap for children who are questioning their own identities, by providing them with characters they can relate to. It invades the darkness, breaks the silence, and tells them “you exist” (Dennis p.96). Such positive representation is critical in forming a healthy foundation for self discovery and acceptance. Steven Universe goes above and beyond what is expected of your average cartoon.

 

 

Bibliography

Clark, Heather. My Lesbian Space Rock Show”: Representations of Intersectional Identities in Steven Universe. Humboldt State University, May 2017. Document.

Dennis, Jeffery. “Queering Without Difference.” Journal of LGBT Youth 5.3 (2008): 96-98. Journal Article.

McDonnell, Chris. Steven Universe Art and Origins. New York: Abrams, 2017. Book.

Tishma, Mariel. Masculinity in Steven Universe. 8 November 2016. Web.

Religion in Anime

Kayson Carlin

Bowling Green State University

April 9, 2018

 

Animated movies have been made in nearly every major country with a film industry. The technique of moving drawn images progressed differently in parts of the world, but none quite as uniquely as Japan. It even has its own name, to which everyone knows exactly what is being described – anime. Unlike the common western idea that all animated pieces are meant for children, anime is intended for any age group whether it be housewives or salary men, and is widely accepted. From emulating Walt Disney’s early cartoons to exploring modern socio-economical issues, anime has evolved to become the most popular medium used today in Japan. It’s no surprise then that many aspects, including religion, can be seen clearly in movies and series, as well as inferred through metaphors.

Since anime is a Japanese visual medium, it makes sense that it would contain references to the traditional Japanese religion, Shintoism, both subtly and overtly. Shintoism and its practices are evident in everyday life in Japan; whether it be visiting temples on holidays, providing offerings to roadside shrines, or simply carrying around an Omamori or Good Luck charm. These same things can be seen in many anime, reflecting real life while giving nods to Shinto beliefs. Some anime, however, focus explicitly on Shintoism, creating stories around the religion. One such anime is Kamisama Hajimemashita (Suzuki 2012), known in English as Kamisama Kiss. In it, a homeless girl named Nanami Momozono meets a land deity (tochigami) after saving him from a wild dog. In response to her kindness, he blesses her with some of his power, and tells her she may live in his shrine. He then disappears, leaving Nanami to figure out how to be a proper deity with the help of various spirits and yokai.

Kamisama Kiss not only displays Shinto themes in the setting, but is continued throughout the storyline. In the beginning, Nanami is a weak kami with little power because hardly anyone believes in her. As a matter of fact, hardly anyone knows she exists at first, which threatens her own existence, as kami gain their power through the beliefs and prayers of their followers. Slowly her divine power increases as she helps more people, granting their wishes, and performing rituals. In one particular scene, Nanami must purify the grounds of the shrine as it becomes polluted with a thick miasma due to her absence (Swale). This is in accordance with Shinto beliefs such as the accumulation of negative energy when things are not looked after properly, including sacred objects and the environment.

Supposedly in stark contrast to the pagan-like Shintoism, is the Western religion Christianity (and Catholicism as a sub group). Anime has an almost bizarre obsession with Christianity when it comes to including this religion, by either representing it with dark undertones, or portraying it as over-the-top ridiculous. In the latter, it is rarely serious in terms of it’s connection with God, the Bible, and various practices. Instead, it simply includes it as characterization. For example, in Chrono Crusade (Moriyama 2003), the main character Rosette is a blonde-haired, blue eyed, Catholic nun. Usually Catholic nuns wear extremely conservative robes, and follow a strict set of morals set by the Bible and church. Rosette, on the other hand, wears a long dress with slits running up the side of her legs, drinks alcohol, and is prone to violence. These examples are only a few when looking at the overall anime itself.

Chrono Crusade takes place in 1920’s America, following a young woman named Rosette Christopher who travels the country exorcising demons while searching for her long-lost brother. She is supported by the Catholic church, and finds companionship in Chrono, a friendly demon she befriended when she was young. This anime has an explicit Christian background, even though there are some aspects which deviate from common belief and practices. This is evident in the mere existence of the demon Chrono, who supposedly aids the church, when in reality, anything or anyone demonic would be immediately denounced by Christians. Other Christian elements are also present, such as the use of holy water against evil beings, and the presence of the Twelve Apostles.

On the other end of the spectrum when it comes to Christian representation is Neon Genesis Evangelion (Anno 1995), which is famous for it’s religious symbolism and imagery, such as the Tree of Life being shown in the opening credits (Thouny). While the story itself centers on teenagers defending Tokyo from supernatural beings by piloting giant robots, certain aspects draw upon Christian mythology. The background for the series begins when mysterious, supernatural beings known only as “Angels”, suddenly appear over Tokyo, destroying much of the city. Shortly after, explorers discover an ancient artifact nearly identical to the Angels, beneath the Earth’s crust, and dub it “Adam”. From this artifact, scientists developed bio-engineered robots to fight the Angels, naming them EVAs. This is a reference to the Biblical story of Adam and Eve, in which Eve is made from Adam. Towards the end of the series, it is revealed that another artifact had been found much earlier than Adam, and contained the genetic code of humans. This artifact is referred to as Lilith, named after Adam’s first wife in Jewish myth, and is kept nailed to a cross resembling the crucifixion of Jesus Christ (Redmond). Like Jesus during his execution, Lilith is also speared in the torso by the Lance of Longinus, or Holy Spear, as stated in the Bible.

Other references to Christianity can be seen in the supernatural creatures, Angels. Angels can take a wide variety of appearances, from humanoid forms to gigantic wheels with eyes, to floating decahedrons. Each Angel also has a name; Zachiel, Ramiel, Israfel, Iblis, etc, referring to biblical angels, and angelic beings in the Qur’an (Thouny). Upon defeat, they explode into “holy light”, leaving behind the image of a cross in their wake. These instances further the connection to Christianity.

Despite being one of the three main religions in Japan, Buddhism is an uncommon theme in anime. Most representation comes from secondary characters who fall under the Buddhist monk archetype, such as Miroku from InuYasha (Takahashi 2000) and Shima from Blue Exorcist (Katou 2011). These two do not display a connection to Buddhism through their words or actions, instead just using it as a label. One of the only explicit representations of Buddhism in anime is Saint Young Men (Nakamura 2012), featuring Gautama Buddha as a main character. The movie follows Buddha and Jesus Christ as they vacation in Japan, living together as room mates. Within the narrative, there is reference to Buddha when he lived as a human on Earth, about his perseverance and asceticism. He can also be seen glowing when he says something pious, while his face turns into the image of the “Laughing Buddha”, commonly pictured in Zen Buddhism. In one scene, Buddha and Jesus go to Tokyo Disneyland to ride a rollercoaster, although neither of them have been on one before. Jesus is excited to try it, however Buddha has serious doubts because it’s frightening and dangerous. As they fly down the first hill, there is a close-up of Buddha’s reaction on the ride; his right hand is positioned in front of his face while his left hand is resting under his chest. This is called a mudra, specifically the Abhaya mudra (Lotus Sculptures). This pose is used to invoke protection peace, and most notably, to dispel fear. Essentially, Buddha is attempting to calm his fear of the rollercoaster.

Through these four anime, different approaches and representation can be seen in regard to religion. East Asian religion such as Shintoism is casually referenced and alluded to, while Western religion such as Christianity is often a main focus or setting. Other religions such as Hinduism, Buddhism, and Islam are hardly represented, if at all. The reason for this is not yet certain, and may include things such as target audience, or simply lack of familiarity when concerning Hinduism and Islam. All of the aforementioned examples portray religion in either a positive (Kamisama Kiss, Chrono Crusade, Saint Young Men) or a neutral light (Evangelion). It’s evident that East Asian religion will continue to play a part in anime for decades to come.

 

 

Bibliography

Lotus Sculptures. Buddha Mudras: Hand Positions of the Buddha. n.d. Web. 19 April 2018. <https://www.lotussculpture.com/mudras.html&gt;.

Redmond, Dennis. “Anime and East Asian Culture: Neon Genesis Evangelion.” Quarterly Review of Film and Video 24.2 (2007): 183-188. Web.

Swale, Alistair. Anime Aesthetics. Waikato, New Zealand: Palgrave Macmillan, 2015. Print.

Thouny, Christophe. “Waiting for the Messiah: The Becoming-Myth of Evangelion and Densha Otoko.” Mechademia 4 (2009): 111-129. Web.

Wasylak, Katarzyna. “Need for Speed: Anime, the Cinematic, and the Philosophical.” Children’s Literature Association Quarterly 35.4 (2010): 427-434.

 

 

Hiroshima and Nagasaki vs. Chernobyl

Both these places were affected by nuclear radiation, but while the Japanese cities have thrived, Chernobyl remains a wasteland for many years to come. This is because of two main reasons:

1. The atomic bombs dropped on the cities only contained ~14 pounds of plutonium/uranium. The nuclear reactor in Chernobyl however, contained nearly 200 tons of uranium.
2. The bombs exploded in the air over a wider area, which helped dissipate the radioactive particles. The explosion of the Chernobyl reactor was directly on the ground, and much more concentrated.

This also applies to the nuclear disaster in Fukushima.

SHAFT: A Visual Journey

Kayson Carlin

Bowling Green State University

February 20, 2018

 

SHAFT

When discussing animation, one attributes certain styles, themes, and techniques to individual production studios. While there exists multiple creative positions within a studio, the talents of all individuals are pooled together to create the final project. Of course, some people influence the work much more heavily than others, but in the end the final product is attributed to a specific studio. As such, many animation companies begin to form their own “markers”. Not only is this apparent in America, where features are described as having “Disney quality” animation, the same is true for Japanese anime. To the eye of a standard consumer, many anime may look alike, if not exactly the same. And while this is a result of Japan’s notion of uniformity, there are also animation studios that strive to be different from the rest. A prominent company that has successfully stood out from the myriad of anime studios, is Studio SHAFT. Through the use of highly stylized design properties, and mixed animation techniques, Studio SHAFT has earned a rightful position at the top of the industry food chain.

Although the first production of Japanese animation took place as early as 1917, the animation industry did not emerge as such until Toei Animation, Japan’s first large-scale commercial studio (then called Toei Douga), was founded in 1956 (Morisawa p.265). Years later in 1963, animation began being broadcasted on a weekly television network, Fuji TV, and gave rise to a studio called Mushi Productions, founded by Osamu Tezuka. In these weekly broadcasts, Mushi Productions gave life to Tezuka’s most famous manga series; Astro Boy. However, Tezuka’s creative vision could not be quelled, pushing for higher budgets and production values which could not be responsibly met, leading to the studio’s bankruptcy in 1973. The dissolution of Mushi Productions led to its creative body branching into several smaller production studios throughout the 1970s, many of which eventually grew into some of the finest production studios in the industry today (Morisawa p.265). One of these production companies, Studio SHAFT, began as a modest animation hub, producing less than a dozen works from 1975 to 2004. However in 2004, a man named Akiyuki Shinbo joined the team, greatly influencing the studio’s signiture style with his unique artistic expression, and forever changed SHAFT’s art direction.

A striking feature of anime done by SHAFT is their use of color, space, and background in the designs of both characters and environments. Minimalist and often abstract/interpretation-friendly backgrounds are one element of this, clear in works from Bakemonogatari (2009) to Nisekoi (2014) to Madoka Magica (2011) (Creamer 2017). Geometric lines and shapes fill buildings and architecture to create a neatly uniformed space within the world environment. However, in place of a flowing, natural landscape, or intricate, bustling city street, the characters will be placed on a two-dimensional space with shapes, lines, silhouettes, or abstract objects such as scissors. This is especially true when dialogue is taking place, even sometimes replacing whole backdrops with stylized live-action photos, or holding on a single image of road signs during exposition. Such stylizations often interrupt the viewer’s immersion, making them acutely aware they are merely watching a screen.

Along with background art, colors work as a semiotic element in SHAFT’s animation, for various emotions and artistic styles (Dai p.37). Basic color pallates paint the world, with heavy focus on bold, contrasting degrees of color. This creates a dynamic feel to the scenes and characters. Reds, blacks, and yellows dominate most of their work, as the nature of each anime is fairly straight forward. The exception to this is Madoka Magica, which starts off using pastels, and slowly adds in more black to demonstrate the narrative getting darker with each episode. This was used to lure viewers into a false sense of security, portraying the anime as cute magical girls saving the day. In reality, Madoka Magica delved into the psychological aspects of having power, the consequences of using it, and the eventual death of one’s humanity.

Studio SHAFT’s most notable design in their animation is the presence of on-screen text. At any point during the episode or movie, text will appear on abstract backgrounds or “cards”, either static or scrolling. What’s interesting is that unlike normal captions with a few words, these captions can be a literal wall of text. The viewer is bombarded with a surplus of information (Wasylak p.432). In some cases, the text is shown so briefly that the viewer cannot even begin to read it unless they pause the video every few seconds. Sometimes, the captions refer to a character’s mood or serve as a comment for the situation, but mostly they are just unrelated babble. The captions in the background or on the cards usually consist of a lot of tiny lines written in small font and are displayed in motion or appear only for a second (Wasylak p.432). Given the limited space, text appears as mostly kanji, a complex writing system of symbolic characters. Interestingly, Akiyuki Shinbo has chosen to use obscure kanji as much as possible. For example, sono (which roughly means “that”) is usually written in hiragana, but they chose to use kanji instead (The Visual Medium 2012), leaving even native Japanese speakers confused. In the case of Bakemonogatari, which centers on a young man with a knack for running into supernatural women, the source material from which the anime is adapted is a series of novels. This fact is reflected with the on-screen captions, occassionally plucking sentences or paragraphs straight from the original novels and displaying them as text. In contrast, Goodbye, Mr. Despair (2007), a parody of school life featuring a depressive, paranoid teacher, sometimes uses text as an explanation to certain jokes, pop culture references, and puns. Given that the Japanese language is complicated even for native speakers, puns can be misunderstood so having just a brief explanation is helpful. However when watching Goodbye, Mr. Despair, it, like Bakemonogatari, only provides flashes of this text, leaving viewers needing to pause the video in order to read the comments. This also jars viewers out of their complacency when watching, bringing attention to the fourth wall, and the separation between audience and screen.

Japanese anime, in general, is mostly limited animation that aims at reducing the overall number of drawings (usually there are twelve drawings per second) when compared to full animation (approximately eighteen to twenty-four drawings per second) as in Disney movies (Wasylak p.428). On average, the standard format of half-hour television animation in Japan is composed of approximately 300 “cuts”, resulting in a jerkier motion (Morisawa p.267). This can be beneficial, as anime uses more static images and an absence of movement that is akin to manga graphics, on which many anime is based (Wasylak p.428). Studio SHAFT is no exception, but instead uses aforementioned stylistic choices to replace actual animation. Limited animation favors graphic design and character design over character animation (Wasylak p.429), which is evident in the make-up of SHAFT’s worlds. CGI is rarely implemented, reserved only for extremely complex movements of both foreground and background. The animation techniques in So Long, Mr. Despair indicate a strong tendency toward manga style (Wasylak p.432), as the source material was originally a manga (graphic novel). The images are composed as if they were manga frames, and onomatopoeic sounds in the anime are accompanied with their written form (Wasylak p.433), akin to sound effects and speech bubbles. While this could be described as design choices, it can also apply to the technicality of the series, making it less taxing for animators, and reducing production costs.

In the anime community, there is what’s referred to as a “SHAFT pose” when describing character movement. These character poses may look cool, but are usually nearly impossible for a real human to pull off. The mose famous of these poses is the “head-tilt”, in which a character is facing away from the camera and tilts their head backwards to look into the lens with their chin towards the air. This is arguably SHAFT’s most trademark style that informs audiences that they are indeed watching a SHAFT production. The head-tilt has appeared in every single anime they’ve produced since 2004 (Swale p.77). In context with the narrative, the character who performs this pose is most often archetyped as mysterious, being deceitful, or possessing knowledge that the protagonist or audience does not have. For example in Madoka Magica, the character Akemi Homura, who is actually a time traveler, frequently stands in this head-tilt pose while providing cryptic warnings to the protagonists of what horrors lie before them.

Yet another commonality between SHAFT works is the ratio of animation to dialogue, described by some as a “spoken novel” (Swale p.79). As discussed previously, animation is limited, and static images are widely employed to substitute for movement and action. As a result, anime by SHAFT is dialogue heavy, taking the focus away from the sparse animation, and putting it on exposition, character development, and character design. This opens the door to multi-dimensional characters who are relatable and engaging to viewers. Such dynamic characters are strongly evident in Madoka Magica, where despite all the characters fighting for the same thing, each has a different history and resulting outlook on the world that conflicts with the main “good guy” protagonist. Viewers can understand the reasoning behind their actions, and care what happens to them even if the line of moral ambiguity is reached. So while restrictive animation can potentially harm shows, SHAFT has found another door to open via its characters to enrich the series as a whole.

The grandious and ambitious style of Studio SHAFT betrays its humble beginnings as a small production company, that slowly released films over a 30 year period. Thanks to Akiyuki Shinbo, the major creative force that forever changed the face of SHAFT, works such as Bakemonogatari, Madoka Magica, and Goodbye, Mr. Despair have brought the studio away from the perception of being one in a hundred. They stand apart, as a pioneer in alternative storytelling due to the incredibly unique, and sometimes bizarre art direction and design. Using their design strengths, they open up a world of possibilities in not only narration but characterization itself, bringing to life otherwise limited animation. SHAFT has truly made a reputation for themselves as a production studio that innovates new ideas for a changing market. Audiences can be sure of certain markers when watching a series or film with the SHAFT logo stamped on it, and are guaranteed a strange yet complex ride through visual storytelling.

 

 

References

AnimePlanet. Puella Magi Madoka Magica: Rebellion. 2011. 2 2017.

Creamer, Nick. The Secret of Studio SHAFT. 18 January 2017. <https://www.animenewsnetwork.com/feature/2017-01-18/the-secret-of-studio-shaft/.110526&gt;.

Dai, Boyao. “Investigating Visual Differences Between Japanese and American Animation.” Rochester Institute of Technology (2016): 6-42.

Morisawa, Tomohiro. “Managing the unmanageable: Emotional labour and creative hierarchy in the Japanese animation industry.” Ethnography 16.2 (2015): 262-284.

Swale, Alistair. Anime Aesthetics. Waikato, New Zealand: Palgrave Macmillan, 2015. Print.

The Visual Medium. Shaft Style. 2012. <http://the-visual-medium.blogspot.com/2012/01/shaft-style.html&gt;.

Wasylak, Katarzyna. “Need for Speed: Anime, the Cinematic, and the Philosophical.” Children’s Literature Association Quarterly 35.4 (2010): 427-434.

 

Auteur Analysis of Taika Waititi

Kayson Carlin

November 14, 2017

 

Auteur Analysis – Taika Waititi

Born to a Jewish mother and Maori father, Taika Waititi graced the world in August 1975 in Wellington, New Zealand (Defender Films). Originally an actor, he moved on to writing and directing in the mid to early 2000s. His first short, professional film Two Cars, One Night (2003) was nominated for an Academy Award, and has since developed into an innovative and creative up-and-coming filmmaker. Despite only having a small repertoire of professional films, Waititi has shown to have a unique style which includes male-centric characters, a charming sense of humor, and nods to his own Maori heritage.

As of the time of this writing, Waititi’s films tend to focus on slice of life situations from a male perspective. The main characters in each of his films have a range of ages, but are always men; Ricky (Julian Dennison) and Hector (Sam Neill) from Hunt for the Wilderpeople (2016), Boy (James Rolleston) from Boy (2010), and nearly the entire cast of What We Do in the Shadows (2014). Whether this is on purpose or done subconsciously has yet to be seen, but it still shows a trend Waititi has followed so far. The situation on hand has always been explored from a male view. In Hunt for the Wilderpeople, Bella (Rima Te Wiata) plays a big role in Ricky’s character development even though she is not physically present for the majority of the film. The viewer does not see events from her point of view; likewise, her experiences, thoughts, and emotions are not directly explored. The only references to this are secondhand from Hec, her husband. On the other hand, the complexity of Hector and Ricky are explicitly shown through their actions and dialogue. To go a bit further, Waititi’s works mostly address masculine relationships; man and foster son, boy and his estranged father, and a group of male friends. These dynamics are at play in all of his films, and give insight into atypical male bonding.

One major signature of Waititi’s work is the use of humor within the narrative. “Waititi’s films have been regional slices of life, a fascinating blend of sentimentality, zaniness, angst, and a unique type of awkwardness that exists somewhere between Wes Anderson and Jared Hess” (Perkins). Every single film he has directed plays on the same type of comedy. His films tend to incorporate absurdity, often delivered in a deadpan way (Carew, p.22) In What We Do in the Shadows, the entire concept of vampires living as flatmates in modern-day Wellington is absurd, yet it is grounded in somewhat relatable situations; dealing with messy roommates, meeting new people, and adjusting to change. “Waititi doesn’t force these moments, nor lean on the sentiment behind them, preferring to let a comedic tone and naturalistic emotions shine through” (Ward, p.11). The same is true in Hunt for the Wilderpeople. It’s absurd and comical to find a grumpy old man and a boy who believes he is a gangster, together in the New Zealand wilderness, fleeing from child welfare services. Waititi adds to this zaniness by inserting moments of dark humor into situations, such as Ricky unknowingly describing Hector as a pedophilic molester, or Petyr’s “freak sunlight accident” in What we do in the Shadows, resulting in his death. With previous experience in comedy, it’s no wonder that off-beat humor finds its way to the front of Waititi’s films.

A unique part of Waititi’s films is his inclusion of Maori culture. “His domestic work is primarily characterized by a veneration of nature and indigenous culture” (Perkins). Coming from a Maori background himself, Waititi adds either a sprinkling of his heritage, or fully embraces it. Characters such as Ricky from Hunt for the Wilderpeople, and the boys in Two Cars, One Night, are clearly from Maori decent. Yet in each film, they are presented as “normal” modern day people, demystifying any assumed exoticism. It’s clear that a statement is being made about the romanticism of native culture that is seen in other cinema. To an American audience, it may be difficult to understand the implications of such representations. “Ways of seeing the world and ways of portraying the world in the movies differ for each country and culture, and it is necessary to understand the cultural conditions that surround a movie if we are to understand what it is about” (Corrigan, p.90). This rings true, especially for Waititi when he incorporates native cultures of New Zealand into his films. “Wilderpeople taps into the growing pride in national cinema that has emerged in the wake of Waititi’s gradual reshaping of New Zealand film on the world stage” (Flux, p.17) Even in What we do in the Shadows, the setting takes place in Wellington, New Zealand. The meaning behind those representations resonate differently with New Zealanders than they do with other parts of the world, but is still recognizable and comparable to other native cultures that have been oppressed such as the Native Americans in the United States. Given the underrepresentation of minorities in cinema, this makes Waititi unique as he not only includes minority cultures in his work, but is one as well.

Taika Waititi has proven himself as having an exceptional vision when it comes to filmmaking. The quirkiness embedded in his work signify them as one of a kind, just like the explosions in Michael Bay’s movies, lens flares in J.J. Abram’s Star Trek films, or unreal plot twists in an M. Night. Shyamalan storyline. It is yet to be seen if his future films make an attempt to address situations from a female perspective, or include central female characters. But his inclusion of indigenous minority cultures and actors certainly make him noteworthy. It feels like Waititi is just at the beginning of a, hopefully, long career in filmmaking.

 

 

Works Cited

Carew, Anthony. “Bloody Good Comedy: What we do in the Shadows.” Metro 183 (2015): 18-23.

Corrigan, Timothy. “Six Approaches to Writing About Film.” Corrigan, Timothy. n.d. 87-113. 2017.

Defender Films. Taika Waititi Biography. 2005. <http://www.imdb.com/name/nm0169806/bio?ref_=nm_ov_bio_sm&gt;.

Flux, Elizabeth. “On the right trek: Taika Waititi’s ‘Hunt for the Wilderpeople’ and New Zealand film.” Metro 190 (2016): 14-19.

Perkins, David. Regional Storytelling of Taika Waititi. 25 August 2016. <http://screenprism.com/insights/article/what-are-the-techniques-and-characteristics-of-taika-waititis-filmmaking&gt;.

Ward, Sarah. “There’s no place like home: Finding family in Hunt for the Wilderpeople.” Screen Education 85 (2017): 8-15.

 

Ace of Hearts: Asexuality

Kayson Carlin

Bowling Green State University

August 5, 2017

 

Abstract

Asexuality is analyzed through a scientific and social lens to determine why it is so little known. Possible solutions are proposed to incorporate the asexual community into mainstream society with increased media visibility and education. The conclusion formed from various academic literature on asexuality, indicates a strong need for more attention from the general public.

Keywords: asexuality, sex, LGBT+, engagement

Ace of Hearts

In 2011, a coincidental Google search for funny YouTube videos resulted in one teenager’s self-discovery. For years, they felt somehow different from their peers, whose lives revolved around hook ups and break ups. Weren’t there more important things to worry about, like college admissions, refugees in the Middle East, or even alien life within our very own solar system? This teen felt like they were broken, physically, mentally, or both. They agonized over this, until the day they came across a term by pure chance; asexuality. It described someone who does not experience sexual attraction. There was even a community of these people whose experiences echoed the teen’s. Finally, they realized they weren’t broken, just different. And they were not alone. Only recently have sexologists begun to explore asexuality as an orientation. Had there been wider acknowledgement of such an orientation, perhaps the teen’s confusion could have been minimized. Unlike heterosexuality, which has major visibility, other orientations such as bisexuality, pansexuality, and especially asexuality, is scarcely known both to those who experience it, and those in the “outside”, sexual world. To have a more well-rounded and educated society, asexuality deserves the same attention from the public as other orientations.

 

The phenomenon of asexuality has been underreported for centuries. By default, a person is assumed to be heterosexual, believed to be “the norm”. Unless someone, like a historical figure, explicitly shows or states attraction to the same sex, they are often labeled by that default. This assumption however ignores other sexualities because they do not fit neatly into a binary of hetero/homo. With so little recognition, it’s no wonder why a majority of the public is unaware of the existence of asexuals. What’s more, it’s estimated only a small portion of the world’s population is asexual, much less than homosexuals, bisexuals, or pansexuals. As a result, asexuality does not garner attention from the general public because many believe it does not exist.

In 2004, psychologist Anthony Bogaert estimated that approximately 1% of the world’s population was asexual (Van Houdenhove, Gijs, T’Sjoen, & Enzlin, 2014 p.175). Compared to other sexual orientations, this is a minute number. But just because the prevelence is small, doesn’t mean that it is any less valid. While every other sexuality focuses on a certain type of sexual attraction as it’s main point, asexuality focuses on the lack thereof. For many sexual people, this is considered odd because sex is seen as an intristic part of life for all creatures. It’s believed that all animals have this innate urge to mate, including humans, as a way to keep the species alive. Some claim this is a basic desire dating back to our earliest ancestors. How could a human lack this primal instinct? As mentioned earlier, the occurance of asexuality is poorly recorded in history, which includes asexuality in animals. Until relatively recently, it was long thought that nearly all animals, especially mammals, were exclusively heterosexual. In a controlled experiment in 1997, researchers observed the sexual behavior of rams. “Most of the rams exhibit behaviors that evince heterosexual attraction. However, a significant minority of rams exhibit behaviors evincing marked attraction to the same sex (i.e., other rams) or both sexes (rams and ewes). There is also a significant minority of rams showing no interest or attraction for either rams or ewes” (Bogaert, 2015 p.363). This suggests that a small percentage indicate asexuality. Bogaert suggested “rams may provide an important animal model of human sexuality” (Bogaert, 2015 p.363). It can be concluded from such studies that asexuality has always existed in animals and humans, but is only now being discovered.

Another common misconception which leads to the invalidation of asexuality, is the idea that there must be something biologically wrong. Again, sex is considered a staple of life on earth and logically to not be interested signifies a possible medical problem. In fact, there is a term to describe such a medical abnormality; Hypoactive Sexual Desire Disorder, or HSDD. To test this theory, two Canadian researchers Brotto and Yule, conducted an experiment with women who self-identify as heterosexual and women who self-identify as asexual. Through genital sexual response testing the results showed that both groups of women had similar physical responses, however the asexual group reported no increased desire for sex (Brotto & Yule, 2015 p.621). This demonstrates that the body of an asexual, or at least the genitals, react appropriately to stimulation just as heterosexuals, potentially ruling out HSDD. Furthermore, “the distinction between asexuality and disorders of low sexual desire (as outlined in the DSM-5) hinges on clinically significant personal distress arising from the lack of sexual desire” (Cranny, 2017 p.638). For example, if you have a freckle or mole on your face, it’s only a problem if you feel self-conscious about it, or it’s interfering with daily life. Asexuals reported little to no distress in their daily lives over the lack of sex or attraction.

By making this information of the concept of asexuality available to the general public, the awareness of asexuals will increase, bringing attention to the community. And with proper scientific data of it’s validity, asexuality will have a place at the discussion table.

One proposed solution to this lack of visibility is more informative sexual education. In schools, some states only require a basic overview of heteronormative safe sex practices, while other teach complete abstinence to their students. To contribute to our changing society, education needs to address non-heteronormative sexual issues. This normally includes homosexuality, and sometimes bisexuality/pansexuality. It is through these classes that some youth discover who they are. But excluding the topic of asexuality can leave a gaping hole for some individuals who are not aware there is life without sex. This happens in not just sexual education settings in school, but in everyday life such as doctor’s offices, clinics, and counseling centers. By bringing asexuality into the limelight, it helps those who do not experience sexual attraction find themselves, and those in the sexual world to broaden their understanding of fellow humans.

Another solution proposed is the increase of positive asexual representation in media. It seems a staple of any television show, movie, or book nowadays is a romantic, sexual relationship. It pops up in romance novels such as Twilight (Meyer, 2005), and even super hero movies, like Deadpool (Miller, 2016). There has been an increase in non-heterosexual visibility in the most recent decade, however asexuals are widely underrepresented. In the comedy sitcom, The Big Bang Theory (Cendrowski, 2007), the character Sheldon displays explicit asexual characteristics. Yet his behavior is coined as neurotic and comical. “Apparent from such popular culture excerpts, however, is how mockery and humor are being used in ways that can derogate asexuals or those suspected of being asexual” (MacInnis & Hodson, 2012 p.725). As a result, those who come across asexual representation in this light, also view asexuals as neurotic. It becomes a dismissive topic. There is an advantage to media to paint asexuality in a positive light which will influence those who consume said media. As it becomes more prominent to have complex asexual characters, it will no longer be considered “crazy” or “weird” and will instead normalize the way people view actual asexuals.

General understanding reduces the alienation of asexuals in society. It may be difficult to plainly see, but those in the asexual community are indeed faced with prejudice . In a 2011 survey, participants were told to assign and rate positive and negative traits to certain sexual groups. Among those groups were heterosexuals, homosexuals, bisexuals, and asexuals. It was no surprise that heterosexuality received the most positive feedback. “Within sexual minorities, homosexuals were evaluated most positively, followed by bisexuals, with asexuals being evaluated most negatively of all groups” (MacInnis & Hodson, 2012 p.731). In this study, asexuals were commonly viewed as “inhuman, cold, and less valuable” than their counterparts. This of course is a misconception, because sexual orientation does not determine humanistic traits. But it does speak volumes about what others think of the community. Such negativities hurt the asexual community and makes it more difficult to be accepted. As stated above, education and positive representation can go far in making asexuals feel included, as well as teaching society acceptance and tolerance. People will begin to see that even though they do not experience sexual attraction, asexuals are just as human as everyone else, complete with emotions, dreams, and relationships.

There are many steps to be taken to ensure asexuality becomes viewed as normal in the spectrum of human sexuality. As many in the general public have misconceptions about asexuality, the first step may be to eradicate these notions that there is something wrong with asexuals. When doing research, it’s obvious that scientists, sexologists, and doctors have put a lot of thought into discussing asexuality from a non-biased standpoint. This research however, is not readily available to the average person. This is when accredited individuals in science-based fields need to come forward as one to properly address controversy. Without a public statement or stance by reliable sources, rumors will continue to leak into conversations and influence opinions, leaving asexuals to fend for themselves.

Support and education is also needed for those who identify as asexual. For so long, asexuals felt isolated and broken for simply being different. It’s time to support and encourage them in their lives, instead of ridiculing them. They need reassurance that there is nothing wrong with them and that they are not alone in their feelings. Education in daily life, whether it be a brochure or a poster, can help non-asexuals recognize and address the asexual community. They are going to always be around, they’re not going away. People need to understand this so they can work together to create a more diverse, accepting, and positive society.

Media is a major aspect of the modern world, influencing what we buy to even what we think of other groups of people. Such little asexual representation leaves so much room for stereotypes and falacies. There is a need for more representation in books, movies, and television to introduce people with differences. What people see reflects how they think, and their opinions of others. If all they know is distasteful jokes about asexuals, then those people in turn become a joke to them. By demonstrating the humanity and complexity that asexuals have, instead of misconceptions and character tropes, it spreads awareness that they too, are normal people. Incorporating positive portrayals of asexuality in the media, can go a long way in challanging misconstrued beliefs.

In conclusion, there is a serious lack of attention to people who do not experience sexual attraction. These people exist, and even though they are a minority, they deserve to be treated with respect. Misinformation of asexuality leads to prejiduce and confusion, creating a barrier between the asexual community and the sexual community. The ultimate goal is understanding between people with differences, which in turn will create a better world.

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

Keleman, E. (2007). Asexuality. Encyclopedia of Sex and Gender, 103.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

Asexuality: Real or Fiction?

Asexuality: Real or Fiction?

Kayson Carlin

Bowling Green State University

 

 

Abstract

A look into asexuality through eight different articles, debating the validity of asexuality as a sexual orientation. Alternate theories and explanations are provided to argue against the legitimacy of asexuals, along with documented support in favor.

Keywords: asexuality, LGBT, orientation, sex, inquiry

 

 

Asexuality: Real or Fiction?

In the study of human sexuality, a new term has been presented to describe someone who lacks sexual attraction: asexual. Unlike other sexual orientation, the main component of asexuality is the lack of desire and/or sexual attraction to others. As discussed in previous papers, there is currently a debate regarding asexuality as a valid orientation or whether it is the result of some disorder. From this debate comes research that both supports and argues against asexuality as real.

For those who identify as asexual, the experience is very real. They do not feel sexual attraction or desire, which is greatly different from those who are celibate or chaste. “Celibacy and chastity describe acts and choices, whereas asexuality describes desire or, rather, indifference” (Keleman, 2007 p.103). This difference is made distinct in nearly every scholarly article, which is important to remember as it is an observed and documented difference that should not be easily confused.

Asexuality is not limited to humans, as observed by Anthony Bogaert in “Asexuality: What it is and why it matters.” For example, rams were observed displaying non-heterosexual behavior including asexual tendencies (Bogaert, 2015 p.363). Although a minority, the fact is that it still exists which suggests more needs to be studied in regards to this phenomenon occuring in multiple species. The presence of asexual behavior in animals, suggests similarity to human sexuality. However the difficulty of research lies in the definition of asexuality, since the experienced is described in a wide variety of ways by many different people. As stated by scientists in Sex Health Rep, “asexuality is not currently a well-defined construct, at least not from a standpoint of scientific rigor, and definitions vary” (Brotto, Gorzalka, & Yule, 2017 p.51). Due to this fact, asexuals are often met with confusion, uncertainty, and resistence from not just the outside world but within themselves. ‘The emergence of the asexual community, combined with a lack of empirical data on asexuality, has led to much discussion and speculation, both within academic and non-academic communities, on how asexuality should be conceptualized” (Brotto, Gorzalka, & Yule, 2017 p.51). This contributes to the topic of the legitimacy of this as an orientation.

An argument often presented by those who do not consider asexuality as real, is that there is some sort of disorder that “makes” one asexual. These range from mental disorders, to sexual disorders, and hormonal disorders. Observations and studies have included these possibilities and explored them to account for such a phenomenon. One such study observed that those who self-identify as asexual “found small but statistically significant higher rates of depression and self esteem problems among the asexuals compared to the other sexual orientation groups” (Brotto & Yule, 2015 p.620). Furthermore, researchers found “that asexual individuals were more likely to report symptoms of anxiety, and to endorse more symptoms of suicidality compared to sexual participants” (Brotto & Yule, 2015 p.620). These findings suggest that there is a correlation between mental illnesses and sexuality, specifically the lack of sexual attraction. In addition, the continuation of that study revealed that asexuals display more characteristics of autism and aspergers, than any other sexual group (Brotto & Yule, 2015 p.621). Likewise, people with autism or aspergers tend to identify as asexual as opposed to other sexual orientations (Brotto & Yule, 2015 p.621). Using this information, there is a possible correlation between abnormalities in the brain and lack of sexual attraction.

Another related aspect is the possibility of a sexual dysfunction which contributes to someone’s identity as asexual. To explore this, Lori Brotto, a researcher of Obstetrics and Gynaecology at the University of British Columbia, conducted an experiment in which women were exposed to erotic videos and their bodily response was recorded. “Although the asexual

women self-reported no increase in desire for sex after viewing the erotic films, their genital response, as measured with a vaginal photoplethysmograph, did not significantly differ from the other sexual orientation groups” (Brotto & Yule, 2015 p.622). In other words, the physical response of the asexual women did not lead researchers to believe there was a sexual dysfunction that attributed to lack of sexual desire.

Conversely, Steven Cranney argues that while asexuality does occur, the supposed “cause” is unlike other sexual orientations. “The latter orientations [homosexuality/heterosexuality] never arise out of unhealthy conditions, whereas lack of sex drive can be a characteristic that accompanies clearly unhealthy conditions, even if no personal distress is caused by the lack of sexual desire in itself” (Cranney, 2017 p.638). He claims that while asexuality exists, it may not be considered part of a healthy individual.

Asexuality, like other phenomenon, don’t exist soley in a vaccuum. A variety of factors contribute to the overall identity of an individual such as state of mind and past lived experiences. “However, these categories are not mutually exclusive, and even if asexuality were best placed within a sexual orientation classification, this does not exclude the possibility that it can also overlap with the other categories” (Brotto & Yule, 2015 p.625).

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and Why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranney, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

 

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4),  362-379. doi:10.1080/00224499.2015.1015713

Anthony Bogaert, a researcher at Brock University, inquires what the term “asexuality” means in social context, along with examining its validity, and issues that have arisen. Research was collected using the author’s past studies and papers, along with experiments conducted by scientists. Also included are very brief anecdotes from individual’s experience as an asexual. The conclusion was that despite being an underreported sexual minority, asexuality provided insight into the broad spectrum of human sexuality.

This sources uses a solid foundation of ethos, pathos and logos to get its point across, which was focused on earlier. It is most reliant on logos, or logic, to connect certain studies to asexuality. The author establishes a line of reasoning using past scientific observations to make conclusions as well. There is little room for an emotional argument however inclusion of more first-hand experience would help strengthen the article. The information in this source helps provide a foundation for asexuality as a concept, as well as prove its validity using experiments, both of which are needed in my thesis.

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual      attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Three researchers from the University of British Columbia, Brotto, Gorzalka, and Yule, review recent literature on the topic of asexuality in humans. They investigate if asexuality is a possible physiological disorder, drawing upon previously published papers in the fields of gynecology, and psychiatry. It also explores the relation of community and self- identity in development. In conclusion, they stated that asexuality was best described as a normal variant of human sexuality.

This source relies on solid scientific observations in multiple fields such as gynecology and psychiatry to synthesize their ideas. By combining information from different expert perspectives, the conclusions are strengthened. The data also demonstrates differences between biological processes and internal identity, an advantage over papers that rely solely on self-reported experiences. This is relevant in my thesis to help disprove common misconceptions about asexuality in terms of a physiological malfunctions. While this source in similar to others in addressing the science behind sexuality, it goes into more detail via observational data.

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual           Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627.         doi:10.1007/s10508-016-0802-7

Brotto, from the Department of Obstetrics and Gynecology at the University of British Columbia, and Yule, from the Department of Psychology, inquire if the phenomenon of asexuality is a mental disorder, sexual dysfunction, paraphilia, community trend, or sexual orientation. Through genital sexual response testing in groups who consider themselves heterosexuals versus those who consider themselves asexual, conclusions were formed based on physiological data that was observed. The results showed that both groups had similar physical responses, however the asexual group reported no increased desire for sex. Asexuals also reported little to no distress in their daily lives over the lack of sex or attraction. It was concluded that asexuality, as a heterogeneous group, can be considered a sexual orientation.

This text addresses the two main issues surrounding asexuality in a scientific and non-biased approach. By using data to present their findings, ideas and statements are strongly supported. Also addressed are two social issues of asexuality, which adds to the well-roundedness of the paper. The findings of their observational studies support asexuality as a sexual orientation, contributing fact to my thesis. Previous sources seem to agree with these results, confirming it as a legitimate orientation.

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

This text explores possible themes of asexuality and asexual identifying persons, to determine if this phenomenon is homogenous or heterogenous in nature. Information was collected via online surveys of 174 self-identified asexuals, and interviews of eight asexuals. While some aspects and experiences were reoccurring, there was insufficient data to link asexuality to religion, abuse, or health. The one significant find was that there was an increased correlation between people who reported having little to no sexual attraction and Aspergers.

Personal accounts of experiences concerning sexuality are useful but the authors rely a bit too much on this. Unlike previous sources, this one does not contribute its own experiments or observational data, making it a weakness. First-hand accounts do contribute though to my thesis in a social aspect, if not strictly scientific.

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:10.1007/s10508-016-0887-z

Steven Cranney, a professor in the Department of Sociology at Baylor University discusses criteria that categorizes certain sexual attractions and behavior as an orientation. Asexuality is compared and contrasted against a “stability criteria” of verified sexual orientations in order to judge its legitimacy. Cranney concludes that some facets of asexuality or lack of sexual attraction do meet general criteria, however individual circumstances must be considered before making a definitive statement.

This text is only two pages which is extremely short compared to other previous sources. This can be considered both good and bad. The brevity makes it easier to read and digest but it’s also possible that there could be potential content missing that may have added to some ideas. Cranney provides counter-arguments to asexuality claims, pointing out potential fallacies which in turn help my thesis by addressing those issues. It is different in the tone of the text compared to other sources, as it almost seems like the author is against asexuality being considered a valid sexual orientation.

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual        Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

This article, published by CJ DeLuzio Chasin from the Department of Psychology at the University of Winsor, explores potential issues in the study of asexuality such as the inconsistencies reported among the self-identified. It also questions sexuality in relation to romantic attraction and gender. The author looks at a variety of past papers and articles to compile information and point out strengths and weaknesses and the overall consensus of scholars. In the conclusion, it was stated that self-identified asexuals display a spectrum of romantic attraction and gender identities that need to be taken seriously to investigate further. The author ends with a list of potential questions to help solidify future research.

This article does a good job at recognizing the diversity within the asexual community, including ideas of gender and romantic diversity. It acknowledges that while sexuality, romantic attraction, and gender are separate, they can and do often overlap and influence each other. The list of questions is helpful because they provide a step in the right direction moving forward and contributing to future studies. My thesis benefits from the inclusion of romantic/gender diversity and how it plays a part in sexuality or lack there-of. It includes those aspects which my other sources do not put much emphasis on.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and          Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

MacInnis and Hodson, two researchers from Brock University, question if asexuals experience bias from heterosexuals, akin to homosexuals. The authors look at surveys and observations from two different studies, ruling out confounding variables. In the end, it was discovered that asexuals face similar prejudice as homosexuals, being viewed in a negative light as “inhuman, cold, and less valuable”.

Included in this paper are charts that demonstrate reactions to sexual minority groups, including asexuals, separated by attributes such as gender, religion, and political affiliation. This makes it easier to comprehend data. Also included is an anecdote from a popular television show which helps put bias into perspective for someone who is unfamiliar. The authors take a different view, using a social approach of the “sexual world” looking in, instead of the scientific world looking in like previous articles. This gives my thesis more validity by paralleling other sexual minority experiences to asexual experiences.

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts,    Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192.        doi:10.1080/0092623X.2012.751073

Three scholars from two Belgium universities discuss the foundations of asexuality such as history, prevalence, and definition. Asexuality is compared to hypoactive sexual desire disorder (HSDD) to examine the possibility that the two are the same. It also explores common characteristics in self-identifying asexuals. The authors then state that asexuality is distinct from a disorder and is a fascinating topic that warrants future research.

This source is similar to some of my other sources in that it covers the basics of asexuality. Unfortunately, it doesn’t have a specific in depth research question. But it does corroborate previous published papers which solidifies the basic findings even more. It can be a little redundant, but overall adds more foundation to my thesis to help prove validity to asexuality.

Festival of Magic: A Film Festival Proposal

Kayson Carlin

Browning

Film 2620

6 April 2017

Festival of Magic

Animated movies have been made in nearly every major country with a film industry. Dating back to the early 19^th century, animation has been used to not only create spectacular visuals but to tell a narrative, or story as well. The technique of animating images progressed differently in parts of the world, but none quite as uniquely as Japan. There’s a name for this distinct style – anime. Unlike the common western idea that all animated pieces are meant for children, anime is intended for any age group whether it be housewives or salary men, and is widely accepted. From emulating Walt Disney’s early cartoons to exploring modern socio-economical issues, anime has evolved to become the most popular medium used today in Japan. So much so, that it is making its way across the ocean to the United States. Within the last 20 years anime has exploded from a niche hobby, to a worldwide phenomenon.

Anime contains many different genres and sub-genres, but one of the most prominent is a genre known as “mahou shoujo” or magical girl. This genre originated in Japan in the early 60s, and although it has found footing in other countries, it is still uniquely Japanese. Though there are girl superhero films in the west, magical girl anime films feature elaborate transformation sequences and characters with more girlish, feminine appeal. These films are generally produced for young girls and features a “feel good” atmosphere. Themes of magical girl films tend to include love, friendship, magic, and happiness. There are, of course, later magical girl films that challenge not only the common ideas, but the entire construction of the genre.

I would like to propose a film festival dedicated to this particular form of magical girl heroines. The Festival of Magic, as it is named, will feature six main films that represent mahou shoujo in Japanese cinema from the early beginnings to modern interpretations of the genre. This festival is meant to broaden cultural understanding of world cinema, specifically Japan, and what makes it unique.

Sally the Witch (Yokoyama 1966)

This 1966 film focuses on, Sally, a young princess from a magical world who mistakenly teleports herself to Earth. After using her power to defend two school girls from robbers, she befriends them and decides to stay on Earth. She must keep her magical powers a secret, or else her grandmother will force her to return to her own world and ascend the throne.

Sally the Witch is considered to be the earliest mahou shoujo anime ever produced, as well as one of the first colorized anime. Given that it is a precursor to modern mahou shoujo, there are elements that serve as a basis for future films such as the theme of friendship, secret identities, and princesses. Even widely recognizable tropes such as a small animal companion have started from here. Sally the Witch is point zero from which the entire genre of magical girls has stemmed from, making it an absolute must watch.

Magical Angel Creamy Mami (Kobayashi 1983)

Magical Angel Creamy Mami centers on 10-year-old Mami who stumbles upon an alien creature in distress and lends her assistance. As thanks, the being gives her a magic wand that, along with powers, can turn her into a teenager whenever she wishes. After discovering she can sing, her teenage persona is scouted by a talent agency and is thrown into the world of show business.

Creamy Mami introduced the aspect of girls magically becoming a “grown up version of themselves” as well as incorporating idol singers, both of which became popular tropes later on, evident by anime such as Fancy Lala (Omori 1988), Searching for the Full Moon (Tanemura 2002), and Lilpri (Moriwaki 2010). By portraying girls capable growing into successful “adult” women, it empowered young girls to reach for their own success and independence. They saw themselves not only in the child Mami, but idol Mami as well as what their potential could be if they followed their dreams. It was around this time that major laws for women’s rights were passed in Japan, such as the Convention on the Elimination of All Forms of Discrimination Against Women (United Nations). From this point on, anime was inextricably linked to idol singers, a trend which continues today.

Sailor Moon: Black Dream Hole (Shibata 1995)

The cornerstone of the magical girl genre, as well as anime in general, is the worldwide sensation, Sailor Moon. Originally produced in the 90s, it is still prominent 25 years later. The concept follows a middle schooler named Usagi who receives a magical brooch that turns her into the guardian of love and justice, Sailor Moon. While protecting the earth, she meets and befriends other Sailor Guardians and together, they search for their long-lost leader, Princess Serenity. What makes Sailor Moon unique is the use of transformation sequences, which had never been done before. There are scenes dedicated to the entire transformation from a regular girl in a school uniform, to a masked heroine. Until Sailor Moon’s releases, magical girl anime were still under the radar to the mainstream media and casual anime watcher. However it proved popular enough not only to girls and women, but to male viewers as well. Appealing to a greater audience lead to a larger fan base that pushed for more magical girl topics, thus revitalizing and redefining the entire genre.

If Sailor Moon is the epitome of the magical girl genre, then it is also representative of what the magical girl genre produced: the feminist movement in Japan. Other films may have come before in the 60s and 70s to aid in women’s rights, but Sailor Moon had appeal to a greater audience. It took the feminist ideas of girls being friends, women standing up for themselves, and being their own people and combined it with the mass appeal of transformations and magic. It features girls in short skirts that aren’t sexualized for the male gaze, and “frees” them from traditional conservative clothing. The characters are their own complex people, shown as powerful women instead of damsels in distress. These are some of the things that made Sailor Moon a symbol of feminist movements.

Revolutionary Girl Utena: Adolescent Days (Ikuhara 1999)

Revolutionary Girl Utena is an incredibly unique take on magical girls. The story follows Utena, who was saved by a prince when she was a child. Instead of growing up looking for her “prince charming”, Utena decides to become a prince herself to save others like she had been. After transferring to a prestigious academy, she finds herself battling with members of the student council over Anthy, a mysterious girl with enormous power.

What makes Revolutionary Girl Utena so important, is how it addresses gender and sexuality. Utena is not a typical magical girl. She assumes the masculine gender role similar to that of a warrior, while the femininity comes from Anthy, portrayed as a fragile rose that needs to be protected. Utena is aggressive and stubborn, even going so far as to insist on wearing her school’s male uniform. Yet she does not desire to be a boy, calling herself a “girl prince”. Her relationship with Anthy is heavily implied to be romantic, bringing in the topic of sexuality. Never before had there been a magical girl film with main characters as a same sex couple or variant gender expressions. Upon its major success, Revolutionary Girl Utena opened the doors for more queer visibility in mainstream anime.

Pretty Cure (Nishio 2004)

Produced in 2004, Pretty Cure follows the adventures of two girls who were granted magical powers by fairies. In return, their task is to collect Prism Stones, all of which are named after positive attributes such as bravery, intelligence, and harmony. The land that the fairies reside in is being invading by evil darkness, and only the Prism Stones can dispel its curse.

Pretty Cure has gained immense success and developed into a lucrative franchise, not because of the plot, but because it was a pioneer in manufacturing and marketing toys. Unlike expensive replicas and figures that were directed towards a more adult audience, Pretty Cure inspired children’s toys and outfits with a specific target. Girls could wear the same transformation bracelets that their favorite character wore, a promotional tactic already long established in boy-oriented anime. Merchandise fueled the popularity, leading other producers to follow the same path. Since then, product incorporation has been widely used in promoting magical girl films.

Madoka Magica: Beginnings (Urobuchi 2011)

The magical girl genre was turned upside down with the introduction of Madoka Magica in 2011. The film features a young girl, Madoka, who is presented with a contract to become magical, by a mysterious fantasy-like creature. Anyone who accepts must fight monsters known as “witches”, in return for one wish, big or small. The film follows Madoka who befriends various magical girls, but cannot decide whether to agree to the contract herself. Meanwhile, one magical girl, Homura, is intent on interfering with Madoka and her friends at every step.

The director, Urobuchi, initially marketed Madoka Magica as a cute mahou shoujo anime. What started out as a good-natured romp, quickly became a dark psychological thriller. While containing all the archetypes of traditional magical girl films, such as companion animals and outfit transformations, it added content aimed toward a mature audience who had grown tired of seeing the same “girl saves the day” story. This includes the reality of death that the girls face, along with sacrifice and emotional trauma. This tactic proved successful as Madoka Magica has garnered a huge cult-like following. Essentially, it is a deconstruction of the magical girl genre, examining the truth and harsh consequences of life with magic powers.

These six films form a solid basis for an introduction into the magical girl genre. In the west, these types of films are often overlooked. By providing a venue for the screenings, it opens up possibilities for more Japanese cinema-based festivals. There is a steady supply of Japanese productions, which are gaining huge followings already. It is a market with untapped potential. It benefits the venue economically as well because fans bring in many different facets such as costumes, merchandise, and novelties that can all be capitalized on for profit.
Audiences also benefit from the cultural experience that foreign films bring. It helps people understand something completely different than what they’re used to, in this case, Japanese cinema and way of life. These six films are easy to digest and provide a firm starting point for anyone who wants to explore further. They also have social meaning, as most of these films include the empowerment of women, sending messages of female solidarity and strength. While not strict ideological pieces, they still convey the importance of equality as well as compassion, resilience, and hope, something that is desperately needed in these trying times.

 

Works Cited

AnimePlanet. Mahou Tsukai Sally. n.d. Web. 4 2017.

—. Puella Magi Madoka Magica: Rebellion. 2011. 2 2017.

IMDB. Revolutionary Girl Utena: Adolescent Days. n.d. Web. 4 2017.

—. Sailor Moon S: Black Dream Hole. 1995. Web. 1 2017.

MyAnimeList. Futari wa Pretty Cure Max Heart. n.d. Web. 4 2017.

—. Mahou no Tenshi Creamy Mami. 2007. Web. 3 2017.

United Nations. CEDAW. 2008. Web. 4 2017.