{"title":"Acknowledgments","authors":"","doi":"10.2307/j.ctvx5w9nd.3","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9nd.3","url":null,"abstract":"","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123548719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
One of the most famous archetypes of heroines in Japanese anime is that of the magical girl—a girl who holds the dual identity of both an earthly being (usually a regular schoolgirl) and a heavenly being (a super-powered girl, usually on a mission against sinister beings). While seemingly corresponding with the Western genre of superheroes, and knowingly drawing inspiration from American fantasy sitcoms of the 1960s such as "Bewitched" and "I Dream of Jeannie", the roots of the magical girl genre go deeper into traditional Japanese culture (for example, the Taketori monogatari and goddess of creation, Izanami). The author traces the divide between the earthly and heavenly identities of many anime heroines by examining the major common elements found in three film genres—adventure (Hayao Miyazaki's 1986 film "Castle in the Sky"), science fiction (Mamoru Oshii's 1995 film "Ghost in the Shell"), and historical drama (Satoshi Kon's 2001 film "Millennium Actress").
{"title":"Heaven and Earth:","authors":"R. Greenberg","doi":"10.2307/j.ctvx5w9nd.10","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9nd.10","url":null,"abstract":"One of the most famous archetypes of heroines in Japanese anime is that of the magical girl—a girl who holds the dual identity of both an earthly being (usually a regular schoolgirl) and a heavenly being (a super-powered girl, usually on a mission against sinister beings). While seemingly corresponding with the Western genre of superheroes, and knowingly drawing inspiration from American fantasy sitcoms of the 1960s such as \"Bewitched\" and \"I Dream of Jeannie\", the roots of the magical girl genre go deeper into traditional Japanese culture (for example, the Taketori monogatari and goddess of creation, Izanami). The author traces the divide between the earthly and heavenly identities of many anime heroines by examining the major common elements found in three film genres—adventure (Hayao Miyazaki's 1986 film \"Castle in the Sky\"), science fiction (Mamoru Oshii's 1995 film \"Ghost in the Shell\"), and historical drama (Satoshi Kon's 2001 film \"Millennium Actress\").","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128042917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0016
This chapter summarizes the authors’ reflections of the publication journey in conjunction with the volume’s themes and contents. Thoughts of the complexity of the main theme, the spirited, are revisited in the context of the book’s production process, including the multi-dimensional backgrounds of the contributors. Editorial management and direction are explained as the authors share their review of the book project and that the essential presence of a meta goodwill spirit is important to its completion and success. The expanding boundaries of animation studies is once again emphasized as the authors re-state the spectrum of inquiry into seemingly unrelated subjects of study, as well as the equally related universal humanistic visions and quest for wider cultural knowledge and understanding.
{"title":"Epilogue","authors":"","doi":"10.14325/mississippi/9781496826268.003.0016","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0016","url":null,"abstract":"This chapter summarizes the authors’ reflections of the publication journey in conjunction with the volume’s themes and contents. Thoughts of the complexity of the main theme, the spirited, are revisited in the context of the book’s production process, including the multi-dimensional backgrounds of the contributors. Editorial management and direction are explained as the authors share their review of the book project and that the essential presence of a meta goodwill spirit is important to its completion and success. The expanding boundaries of animation studies is once again emphasized as the authors re-state the spectrum of inquiry into seemingly unrelated subjects of study, as well as the equally related universal humanistic visions and quest for wider cultural knowledge and understanding.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131338145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0012
Giryung Park
This essay focuses on the TV animation Heidi, Girl of the Alps (1974). Made in Japan, it is the most famous international adaptation of the original novel Heidi by the Swiss writer Johanna Spyri. The novel has been translated into many languages and adapted into various media forms—including as a movie, play, animation feature film, television series, cartoon, and picture book. The author surveys the different characteristics and adaptations of the Japan-produced TV animation and its original book publication and argues that progressively, the animated version and its spirited contents have elevated the visual image of Heidi and its original publication. Through studying the audiences in Japan and Korea, the essay speculates on the “spiritual role of the media” in transcending cultural boundaries and discusses the resulting cultural energy that inspires audiences to seek the “spiritual” in connection with their attraction to the animated story.
{"title":"The “Spiritual” Role of the Media? Heidi, Girl of the Alps in Japan and Korea","authors":"Giryung Park","doi":"10.14325/mississippi/9781496826268.003.0012","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0012","url":null,"abstract":"This essay focuses on the TV animation Heidi, Girl of the Alps (1974). Made in Japan, it is the most famous international adaptation of the original novel Heidi by the Swiss writer Johanna Spyri. The novel has been translated into many languages and adapted into various media forms—including as a movie, play, animation feature film, television series, cartoon, and picture book. The author surveys the different characteristics and adaptations of the Japan-produced TV animation and its original book publication and argues that progressively, the animated version and its spirited contents have elevated the visual image of Heidi and its original publication. Through studying the audiences in Japan and Korea, the essay speculates on the “spiritual role of the media” in transcending cultural boundaries and discusses the resulting cultural energy that inspires audiences to seek the “spiritual” in connection with their attraction to the animated story.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121458694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0010
M. Yokota
In the field of Japanese independent animation, the late Kawamoto Kihachiro (1925-2010) made tremendous contributions. This chapter discusses in particular his puppet animations which are steeped with Japanese native beliefs and elements of Buddhist thought. From a clinical psychologist’s perspective, the author analyzes the spiritual dimensions of his work, particularly highlighting the native traditions and assimilated foreign thought systems that are encased within his creations. Specifically, The Book of The Dead (2005) is examined in the essay as it was created when Kawamoto was eighty years old. Issues like mid-life crisis, death, and other related matters are explored as the author surveys the creative and personal life of the master-animator. The author’s interpretation posits that Kawamoto’s puppet animation essentially tried to express the concepts of suffering and enlightenment, and that his work is related to his profound connections to the Japanese people and the historical evolution of a new Japan after the Second World War.
{"title":"Interpreting Buddhist Influences in Kawamoto’s Puppet Animation","authors":"M. Yokota","doi":"10.14325/mississippi/9781496826268.003.0010","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0010","url":null,"abstract":"In the field of Japanese independent animation, the late Kawamoto Kihachiro (1925-2010) made tremendous contributions. This chapter discusses in particular his puppet animations which are steeped with Japanese native beliefs and elements of Buddhist thought. From a clinical psychologist’s perspective, the author analyzes the spiritual dimensions of his work, particularly highlighting the native traditions and assimilated foreign thought systems that are encased within his creations. Specifically, The Book of The Dead (2005) is examined in the essay as it was created when Kawamoto was eighty years old. Issues like mid-life crisis, death, and other related matters are explored as the author surveys the creative and personal life of the master-animator. The author’s interpretation posits that Kawamoto’s puppet animation essentially tried to express the concepts of suffering and enlightenment, and that his work is related to his profound connections to the Japanese people and the historical evolution of a new Japan after the Second World War.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116233039","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay largely explores early Muromachi flower-and-bird painting in Zen monastic context and examines how these works convey symbolic connotations related to Zen (Chan) Buddhism. The development of Zen Buddhism in 13th century Japan not only paved the way for the flourishing of Gozan culture, but also contributed to vigorous cultural exchange between Japan and China in the Muromachi period. The author analyzes the spiritual insights of the Zen priest-painters and their productions, which are a combination of art and poetry. The religious meanings of the flower-and-bird motifs are investigated according to the artistic and literary traditions of that time. The influence of Zen on other Japanese art forms are just as salient and the author concludes that the later development of 2-D art and contemporary 3-D installations of Buddhist art shows the continual development of the Zen spiritual journey.
{"title":"Veiled Zen Journeys through Early Muromachi Flower-and-Bird Paintings","authors":"Y. Ng","doi":"10.2307/j.ctvx5w9nd.18","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9nd.18","url":null,"abstract":"This essay largely explores early Muromachi flower-and-bird painting in Zen monastic context and examines how these works convey symbolic connotations related to Zen (Chan) Buddhism. The development of Zen Buddhism in 13th century Japan not only paved the way for the flourishing of Gozan culture, but also contributed to vigorous cultural exchange between Japan and China in the Muromachi period. The author analyzes the spiritual insights of the Zen priest-painters and their productions, which are a combination of art and poetry. The religious meanings of the flower-and-bird motifs are investigated according to the artistic and literary traditions of that time. The influence of Zen on other Japanese art forms are just as salient and the author concludes that the later development of 2-D art and contemporary 3-D installations of Buddhist art shows the continual development of the Zen spiritual journey.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131276080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0013
Millicent Young
To date, there has been a lack of academic writing on Thai animation; this essay provides a timely survey and analysis of the subject. The author observes that Japanese/Western narrative styles seem to influence the development of Thai animation. However, her goal is to highlight that increasingly, the local culture is beginning to bear weight on the current and future progress of Thai animation. Indeed, Buddhism and the local mix of cultural beliefs and values, including environmentalism, are being expressed in the narrative contents of Thai animation. By discussing the cultural idiosyncrasies and contradictions inherent in Thai society, the author also self-reflects on her pedagogic experience in Thailand and aspiration of encouraging the students to create and improve upon their storytelling skills besides attaining the technical know-how. She argues that there are emergent narrative alternatives in comparison to the dominantly ideological ones, with the former having the potential to shape a promising future for Thai animation.
{"title":"Understanding Thai Animation Narratives","authors":"Millicent Young","doi":"10.14325/mississippi/9781496826268.003.0013","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0013","url":null,"abstract":"To date, there has been a lack of academic writing on Thai animation; this essay provides a timely survey and analysis of the subject. The author observes that Japanese/Western narrative styles seem to influence the development of Thai animation. However, her goal is to highlight that increasingly, the local culture is beginning to bear weight on the current and future progress of Thai animation. Indeed, Buddhism and the local mix of cultural beliefs and values, including environmentalism, are being expressed in the narrative contents of Thai animation. By discussing the cultural idiosyncrasies and contradictions inherent in Thai society, the author also self-reflects on her pedagogic experience in Thailand and aspiration of encouraging the students to create and improve upon their storytelling skills besides attaining the technical know-how. She argues that there are emergent narrative alternatives in comparison to the dominantly ideological ones, with the former having the potential to shape a promising future for Thai animation.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129901962","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0009
Tze-yue G. Hu
Existing published works on classic Chinese watercolor-and-ink animation (shuimo donghua) tend to focus on the propaganda-nationalistic aspects of its making. This essay, however, draws attention to the philosophical side of the story-telling images and narratives found principally in the animated works directed by the late animator, Te Wei (1915-2010), who was a founding member of the Shanghai Animation Studio. The animated work, Cowherd’s Flute (1963), is the main focus in this essay. The essay argues that the spiritual yoke of Te Wei’s watercolor-and-ink animation is profoundly Daoist, reflecting a traditional Chinese native philosophy in a subtle technological setting. It advances the view that such generic animation has rekindled a laden strand of Chinese heritage thought by giving life and movement to its aesthetic and philosophical elements. The author also theorizes the concept of the animated self in the light of the historical-political environment in which the animation was made.
{"title":"Interpretations and Thoughts of the Animated Self in Cowherd’s Flute","authors":"Tze-yue G. Hu","doi":"10.14325/mississippi/9781496826268.003.0009","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0009","url":null,"abstract":"Existing published works on classic Chinese watercolor-and-ink animation (shuimo donghua) tend to focus on the propaganda-nationalistic aspects of its making. This essay, however, draws attention to the philosophical side of the story-telling images and narratives found principally in the animated works directed by the late animator, Te Wei (1915-2010), who was a founding member of the Shanghai Animation Studio. The animated work, Cowherd’s Flute (1963), is the main focus in this essay. The essay argues that the spiritual yoke of Te Wei’s watercolor-and-ink animation is profoundly Daoist, reflecting a traditional Chinese native philosophy in a subtle technological setting. It advances the view that such generic animation has rekindled a laden strand of Chinese heritage thought by giving life and movement to its aesthetic and philosophical elements. The author also theorizes the concept of the animated self in the light of the historical-political environment in which the animation was made.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131502192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-27DOI: 10.14325/mississippi/9781496826268.003.0008
M. Khajavi
Calligraphic animations are contemporary expressions of the Islamic visual culture. Letters, words, and other calligraphic elements featured in these animations are charged with extra-linguistic connotations, holding esoteric meanings that are originally rooted in Gnostic and Sufi interpretations. In these animations, letters, words and calligraphic elements are not simply linguistic signs but hold culturally coded-meanings that need to be interpreted. The essay studies two short calligraphic animations, Creation (2008) by Ghasem Hashemi and the award-winning Amentü Gemisi Nasil Yürüdü (1970) by Tonguç Yaşar, with regard to their use of mystic symbolism and gnostic metaphoric language. The author argues that calligraphic animations like these make meanings through interactions between various levels of signification, which include visual qualities of calligraphy, semantic content, and extra-linguistic connotations rooted in Islamic mysticism. The author also introduces his artistic creation, The Third Script (2017), educating the reader about the deeper meanings of the calligraphic elements presented and the symbolism they behold.
书法动画是伊斯兰视觉文化的当代表现形式。这些动画中的字母、单词和其他书法元素被赋予了额外的语言内涵，持有最初根植于诺斯替派和苏菲派解释的深奥含义。在这些动画中，字母、单词和书法元素不仅仅是语言符号，而且具有需要解释的文化编码含义。本文研究了两个简短的书法动画，Ghasem Hashemi的《创造》(2008)和Tonguç ya获奖作品Amentü Gemisi Nasil Yürüdü(1970)，关于他们对神秘象征主义和诺斯底隐喻语言的使用。作者认为，像这样的书法动画是通过不同层次的意义之间的相互作用来产生意义的，这些意义包括书法的视觉品质、语义内容和植根于伊斯兰神秘主义的语言外内涵。作者还介绍了他的艺术创作《第三个剧本》(2017)，向读者介绍了所呈现的书法元素的深层含义以及他们所看到的象征意义。
{"title":"Animating with the Primordial Pen","authors":"M. Khajavi","doi":"10.14325/mississippi/9781496826268.003.0008","DOIUrl":"https://doi.org/10.14325/mississippi/9781496826268.003.0008","url":null,"abstract":"Calligraphic animations are contemporary expressions of the Islamic visual culture. Letters, words, and other calligraphic elements featured in these animations are charged with extra-linguistic connotations, holding esoteric meanings that are originally rooted in Gnostic and Sufi interpretations. In these animations, letters, words and calligraphic elements are not simply linguistic signs but hold culturally coded-meanings that need to be interpreted. The essay studies two short calligraphic animations, Creation (2008) by Ghasem Hashemi and the award-winning Amentü Gemisi Nasil Yürüdü (1970) by Tonguç Yaşar, with regard to their use of mystic symbolism and gnostic metaphoric language. The author argues that calligraphic animations like these make meanings through interactions between various levels of signification, which include visual qualities of calligraphy, semantic content, and extra-linguistic connotations rooted in Islamic mysticism. The author also introduces his artistic creation, The Third Script (2017), educating the reader about the deeper meanings of the calligraphic elements presented and the symbolism they behold.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126384776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This co-authored chapter discusses a research project initiated at Central Saint Martins, University of the Arts London which investigates whether the making of drawn animation can be a mindful practice. The original intention of the project was to explore the potential application of Buddhist principles and practices such as mindfulness within a secular context to benefit art and design students who experience stress in the learning environment, thereby wishing to examine learning processes more closely. The design of the project led to the use of the repetitive, haptic procedures and collaborative processes of drawn animation in combination with short-form mindfulness meditation techniques. The project rests on the wider developments in UK Higher Education that seek to enable students to engage meaningfully with the affective and extra-rational dimensions of learning. The authors conclude that there is scope for more exploration as animation-making is about the analysis of change and awareness of momentary existence.
{"title":"Mindful Animation for Learning Awareness","authors":"Birgitta Hosea, G. Barton","doi":"10.2307/j.ctvx5w9nd.6","DOIUrl":"https://doi.org/10.2307/j.ctvx5w9nd.6","url":null,"abstract":"This co-authored chapter discusses a research project initiated at Central Saint Martins, University of the Arts London which investigates whether the making of drawn animation can be a mindful practice. The original intention of the project was to explore the potential application of Buddhist principles and practices such as mindfulness within a secular context to benefit art and design students who experience stress in the learning environment, thereby wishing to examine learning processes more closely. The design of the project led to the use of the repetitive, haptic procedures and collaborative processes of drawn animation in combination with short-form mindfulness meditation techniques. The project rests on the wider developments in UK Higher Education that seek to enable students to engage meaningfully with the affective and extra-rational dimensions of learning. The authors conclude that there is scope for more exploration as animation-making is about the analysis of change and awareness of momentary existence.","PeriodicalId":129914,"journal":{"name":"Animating the Spirited","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128517481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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