The intellectual hero's representation in anime

172 Pages·2016·3.41 MB·English

The intellectual hero’s representation in anime: an exploration

by

Johanàn Gerhardus August Hattingh

A dissertation submitted in fulfilment of the requirements for the
degree

Magister Artium (Visual Studies)

in the Department of Visual Arts at the

UNIVERSITY OF PRETORIA

FACULTY OF HUMANITIES

SUPERVISOR: Mr Rory du Plessis

CO-SUPERVISOR: Prof Jeanne van Eeden

April 2016

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ABSTRACT

Title of dissertation: The intellectual hero’s representation in anime: an exploration

Name of student: Johanàn Gerhardus August

Supervisor: Mister Rory du Plessis

Department of Visual Arts
Degree: Magister Artium (Visual Studies)

This study documents the occurrence of the intellectual hero in anime, focussing on the
anime series of Monster (2004), Paranoia Agent (Kon 2004) and Umineko no Naku

Koro ni (Kon 2009). The characters, Doctor Kenzo Tenma, Detective Keiichi Ikari and

Battler Ushiromiya represent the concept of the intellectual hero in anime. Each

intellectual hero in anime exists as an embodiment of literature pertaining to the hero

and the anime hero.

The intellectual hero in anime is derived from key aspects of Thomas Carlyle’s (1796-

1881) writings concerning heroes and hero-worship. Antonia Levi and Susan Napier

contribute further aspects pertaining to the depiction of the intellectual hero in anime, by

discussing the concept of the anime hero. As such, the intellectual hero in anime exists

as a concept encompassing elements of both the traditionally perceived styled hero and

anime hero. Carlyle’s theories reveal the intellectual hero in anime’s preference for

intelligence, genius and order versus disorder; while exhibiting aspects of an inborn

morality. Levi and Napier document the fallibility, sincerity, the complex divided self,

moral ambiguity and turmoil of the anime hero. This combined definition
communicates an intelligent and exceptional character experiencing failure during his
encounter with the antagonist -- an agent of disorder. This study thus appropriates these
concepts on the hero and anime hero to construct a concise and viable definition.

Moreover, this study strives to identify and promote the existence of the intellectual
hero. The intellectual hero in anime acts as a possible bridge between the traditionally
perceived hero and anime hero. By identifying this concept, the study opts to prove the

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validity of the intellectual hero in anime, by means of a qualitative content analysis.

Furthermore, a semiotic analysis documents the visual depiction of the intellectual hero

in anime. As such, the aim of the study is to document the occurrence of the intellectual

hero in anime by means of a qualitative content analysis and semiotics.

Key terms: Carlyle, T; heroes; Napier, S; Levi, A; anime hero; intellectual hero;
Monster; Paranoia Agent; Umineko no Naku Koro ni; intellectual hero in anime;
qualitative content analysis; intelligence; genius; order versus disorder; semiotics.

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“As long as your patient is breathing, don’t give up your hopes until the very end.”

-Kenzo Tenma (Monster 2004).

“A makeshift reality is nothing but deception.”

-Keiichi Ikari (Paranoia Agent 2004).

“Victory isn’t something you’re given. It’s something you take!”

-Battler Ushiromiya (Umineko no Naku Koro ni 2009).

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© University of Pretoria
DECLARATION

Student number: 28090323

I declare that this dissertation, which I hereby submit for the degree Magister Artium
(Visual Studies) at the University of Pretoria, is my own work and has not previously
been submitted by me for a degree at this or any other tertiary institution.

______________________

Johanàn Gerhardus August Hattingh

02 May 2016

UNIVERSITY OF PRETORIA
FACULTY OF HUMANITIES

DEPARTMENT OF VISUAL ARTS

The Department of Visual Arts places specific emphasis on integrity and ethical behaviour with
regard to the preparation of all written work to be submitted for academic evaluation.

Although academic personnel will provide you with information regarding reference techniques
as well as ways to avoid plagiarism, you also have a responsibility to fulfil in this regard. Should
you at any time feel unsure about the requirements, you must consult the lecturer concerned
before you submit any written work.

You are guilty of plagiarism when you extract information from a book, article or web page
without acknowledging the source and pretend that it is your own work. In truth, you are stealing
someone else’s property. This doesn’t only apply to cases where you quote verbatim, but also
when you present someone else’s work in a somewhat amended format (paraphrase), or even
when you use someone else’s deliberation without the necessary acknowledgement. You are
not allowed to use another student’s previous work. You are furthermore not allowed to let
anyone copy or use your work with the intention of presenting it as his/her own.

Students who are guilty of plagiarism will forfeit all credit for the work concerned. In addition, the
matter can also be referred to the Committee for Discipline (Students) for a ruling to be made.
Plagiarism is considered a serious violation of the University’s regulations and may lead to
suspension from the University.

I (full names) Johanàn Gerhardus August Hattingh
Student number 28090323

Declaration
1. I understand what plagiarism entails and am aware of the University’s policy in this regard.

2. I declare that this dissertation is my own, original work. Where someone else’s work was
used (whether from a printed source, the Internet or any other source) due acknowledgement

was given and reference was made according to departmental requirements.
3. I did not make use of another student’s previous work and submit it as my own.

4. I did not allow and will not allow anyone to copy my work with the intention of presenting it as
his or her own work.

Signature __________________________________ Date____

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ACKNOWLEDGEMENTS

 My sincerest thanks to the University of Pretoria for their financial aid during
this study. Thank you also to the National Research Fund (NRF) for further
financial assistance.

The completed dissertation is the result of my own intellectual allies whose contribution

was invaluable to the study.

 I would like to thank my parents Anel and Johan for their continued support
throughout these trying times. Especially my mother whose encouragement
galvanised my efforts during the study. The countless hours spent correcting and

improving each chapter is sincerely appreciated.

 My sister Minien who provided new insight with her extensive vocabulary.

 Catherine Laurent for editing this study.

 Thank you to my supervisor Mister Rory du Plessis and co-supervisor Professor

Jeanne van Eeden for their never-ending academic assistance. Your guidance

assisted the creation of a concise academic dissertation.

 Maribelle and Bjork for their love and affection.

Lastly, thank you to the authors of the texts seminal to the study. Thomas Carlyle’s text

on heroes and hero-worship greatly influenced the creation of the intellectual hero in

anime. Susan Napier and Antonia Levi’s texts on anime illustrated exceptional insight

into Japanese popular culture.

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TABLE OF CONTENTS Page

Abstract……………….…………………………………………………… i

Declaration………………………………………………………………… iv
Acknowledgements………………………………………………………... v
List of figures……………………………………………………………… viii

List of tables……………………………………………………………….. x

CHAPTER ONE: INTRODUCTION………………………………….. 1

1.1 Background and aims of study…………………………..…....... 1
1.1.1 Background to anime……………………………………… 4

1.1.2 The social and historical context of the prototypical anime 7
hero......................................................................................
1.2 Aims and objectives…………………………………………….. 8

1.3 Literature review…………………………...…………………… 8
1.4 Theoretical framework and methodology…...………………….. 14

1.5 Overview of chapters………………………...…………………. 16

CHAPTER TWO: THE HERO…………………………………………. 18

2.1 Introduction…………………………………………………….. 18
2.2 Thomas Carlyle………………………………………………… 19
2.2.1 Comments on Carlyle……………………………………. 22
2.3 The hero in Western discourse…………………………….…… 25
2.3.1 Joseph Campbell’s description of the contemporary hero.. 26

2.3.2 Stuart Voytilla and the modern hero’s journey…...……… 26
2.3.3 John Lash’s expansion on the modern hero……………… 26
2.3.4 Robert Segal: the hero in literature and Kittelson the 26

visual culture hero………………………………....……..
2.3.5 Contemporary texts on hero discourse…………………... 27

2.4 The anime hero…….…………………………………………… 30
2.5 The intellectual hero……………………………………………. 32

CHAPTER THREE: QUALITITATIVE CONTENT ANALYSIS OF
THE INTELLECTUAL HERO IN

ANIME………………………………………….. 37
3.1 Introduction …………………………………………………... 37
3.2 Content analysis…...................................................................... 37

3.3 Qualitative content analysis ………………………………….. 38
3.4 Qualitative content analysis in Visual Culture………………… 40
3.5 Research method………………………………………………. 41

3.6 Main analysis phase…………………………………………… 46
3.6.1 Doctor Kenzo Tenma……………………………………. 48

3.6.2 Detective Keiichi Ikari…………………………………... 51
3.6.3 Battler Ushiromiya……………………………………… 55
3.7 Discussion phase…………………………………………........ 59

3.8 Conclusion………………………………………………..…… 63

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CHAPTER FOUR: SEMIOTIC ANALYSIS OF THE 64

INTELLECTUAL HERO IN ANIME………….…
4.1 Semiotics………………………………………………………. 64

4.1.1 The sign and text……………………………………… 65
4.1.2 The sign in practice…………………………………… 66
4.1.3 Codes………………………………………………….. 68

4.1.4 Interpreting the text…………………………………… 69
4.1.5 Meaning…………………………………………..…… 74
4.2 Semiotic analysis of a television series……………………….. 75

4.3 Semiotic analysis of the selected series……………………..... 78
4.3.1 Creating a monster: Kenzo Tenma as intellectual hero.... 78

4.3.2 The fears of paranoia: Keiichi Ikari as intellectual hero... 98
4.3.3 Crying seagulls and deadly magic: Battler Ushiromiya 119
as intellectual hero……………………………………...

4.4 Conclusion……………………………………………………. 140

CHAPTER FIVE: CONCLUSION……………………………………... 144
5.1 Summary of chapters…………………………………………... 144
5.2 Contribution of the study……………………………………… 149

5.3 Limitations of the study and suggestions for further research… 149

SOURCES CONSULTED………………………………………………… 151

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LIST OF FIGURES Page

Figure: 1 Tenma and Eva in discussion, Monster. 2004............................ 80

Figure: 2 Tenma assessing the young ‘Doctor’, Monster. 2004………… 81

Figure: 3 Tenma’s return to normalcy, Monster. 2004…………….......... 81

Figure: 4 Creating a ‘Monster’, Monster. 2004…………………………. 87

Figure: 5 Tenma facilitating the young ‘Doctor’, Monster. 2004………. 87

Figure: 6 Reviving a ‘Monster’, Monster. 2004……………………........ 88

Figure: 7 Tenma as the wanderer facing the ‘abyss’, Monster. 2004........ 93

Figure: 8 Order rebelling against disorder, Monster. 2004….................... 94

Figure: 9 The symbolic internal abyss, Monster. 2004………………….. 94

Figure: 10 Ikari and Maniwa questioning possible witnesses, Paranoia 99
Agent. 2004…………………………………………………….

Figure: 11 Ikari acquiring Harumi’s testimony, Paranoai Agent. 2004….. 100

Figure: 12 The end of rational reality, Paranoai Agent. 2004……………. 100

Figure: 13 The media’s interest in Lil’ Slugger, Paranoia Agent. 2004…. 107

Figure: 14 Makoto’s illogical fantastical farce, Paranoia Agent. 2004…... 107

Figure: 15 Logic’s retreat, Paranoia Agent. 2004………………………... 108

Figure: 16 Loving the bomb or Ikari’s inner turmoil, Paranoia Agent. 114

2004……………………………………………………………

Figure: 17 Solitary order in a world of fantastical disorder, Paranoia 114

Agent. 2004…………………………………………………….

Figure: 18 The aftermath of disorder, Paranoia Agent. 2004……………. 115

Figure: 19 A crime scene investigation, Umineko no Naku Koro ni. 2009. 121

Figure: 20 A new resolve, Umineko no Naku Koro ni. 2009……………... 122

Figure: 21 Deciphering an illogical puzzle, Umineko no Naku Koro ni. 122
2009…………………………………………………………....

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Figure: 22 Uncovering a useful clue, Umineko no Naku Koro ni. 2009….. 128

Figure: 23 Battler’s temporary checkmate, Umineko no Naku Koro ni. 128

2009…………………………………………………………....

Figure: 24 The third game’s checkmate, Umineko no Naku Koro ni. 129

2009……………………………………………………………

Figure: 25 The hidden presence of disorder, Umineko no Naku Koro ni. 134

2009…………………………………………………………....

Figure: 26 Disorder: a liminal space, Umineko no Naku Koro ni. 2009….. 135

Figure: 27 The death of disorder, Umineko no Naku Koro ni. 2009……... 135

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