Frames of Anime: Culture and Image-Building by Tze-Yue Hu

By Tze-Yue Hu

This publication is an inter-disciplinary learn of the topic of anime, a well-liked type of eastern animation. utilizing quite a few study equipment and spanning a interval of 9 years together with in depth fieldwork performed in Japan and different components of Asia, the examine goals to supply another account of the expansion of the medium-genre fairly from an Asian perspective.

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Frames of Anime: Culture and Image-Building

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This space to which I refer is that ever-expanding layer of Japanese animation that has emerged after the Second World War. Pollack’s “fracture of meaning” hypothesis could be traced to the Meiji period (1868–1912) in which the kokugo national language scholars denounced kanji as “an invader,” “a language spoiler,” “a major obstacle to the modernization of the Japanese language” (Koyasu, 2003), and so on. Contemporary cultural studies scholar Koyasu Nobukuni, in comparing and contrasting the various kokugo discourses about the “problem of kanji” in the Japanese language, explains that kanji kanbun (Chinese character and Chinese language) has helped to shape the development of the Japanese language.

From the writings of Zen monks to those of the nativist philosophers such as Motoori Norinaga, Pollack shows that the monolithic world of the Chinese had been occasionally resisted due to its “centripetal” logical mentality and the overemphasis on the written script. The “silence” that could not be written led to the “fracture of 18 Frames of Anime meaning” and thus, the preference for certain styles of expression that has persisted throughout the centuries. To push his thesis further, Pollack also suggests that the “fracture of meaning” acquired another geo-political significance when China began to appear weak and unchanging, particularly in response to foreign invasion and threat in the nineteenth century.

4 Today, this direct and informative trait of emakimono is embodied in countless manga works and their co-animated creations. Another unique feature of emakimono is the artist’s slightly elevated optical view of his painting subjects. The narrative contents are often “rooflessly” illustrated; that is, the viewer can have a broader multidimensional sense of the painted story despite the presence of “doors” as privacy markers. In other words, like manga and anime, emakimono fulfils a storytelling role besides its two-dimensional illustrative presentation.

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