Table Of ContentThe significance of anime as a novel animation form,
referencing selected works by Hayao Miyazaki, Satoshi
Kon and Mamoru Oshii
Ywain Tomos
submitted for the degree of Doctor of Philosophy
Aberystwyth University
Department of Theatre, Film and Television Studies,
September 2013
DECLARATION
This work has not previously been accepted in substance for any degree and is not being
concurrently submitted in candidature for any degree.
Signed………………………………………………………(candidate)
Date ………………………………………………….
STATEMENT 1
This dissertation is the result of my own independent work/investigation, except where
otherwise stated.
Other sources are acknowledged explicit references. A bibliography is appended.
Signed………………………………………………………(candidate)
Date ………………………………………………….
STATEMENT 2
I hereby give consent for my dissertation, if accepted, to be available for photocopying and
for inter-library loan, and for the title and summary to be made available to outside
organisations.
Signed………………………………………………………(candidate)
Date ………………………………………………….
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Acknowledgements
I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones
and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks
are also due to my colleagues in the Department of Theatre, Film and Television Studies,
Aberystwyth University for their friendship during my time at Aberystwyth. I would also like
to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their
valuable insights during my visit in 2011. In addition, I would like to express my thanks to
the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills
in the Welsh language. Finally I would like to thank my wife Tomoko for her support,
patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう
智子.
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Table of Contents
Page
Declaration.................................................................................................................... 2
Acknowledgements....................................................................................................... 3
Table of Contents.......................................................................................................... 4
List of Figures................................................................................................................ 10
Abstract ........................................................................................................................ 13
Chapter 1: Introduction
1.1 Research aims.................................................................................................... 14
1.2 Defining anime.................................................................................................... 16
1.3 Purpose of the study........................................................................................... 19
1.4 Structure of the study.......................................................................................... 20
Chapter 2: Literature Review
2.1 Definitions of orthodox animation.................................................................. …. 22
2.2 Definitions of anime………………………………………………………………….. 25
2.3 Anime in Japanese cultural and economic contexts........................................... 33
2.4 Anime's global role beyond Japan...................................................................... 39
2.5 Technical features of anime within animation.................................................... 58
Chapter 3: Methodology for the Study
3.1 Introduction......................................................................................................... 62
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3.2 The theoretical basis for the study..................................................................... 62
3.3 Research areas................................................................................................... 76
3.4 The choice of methodology................................................................................. 78
3.5 Content analysis.................................................................................................. 79
3.6 Genre theory....................................................................................................... 83
3.7 Semiotic analysis................................................................................................. 85
3.8 The significance of trans-medial developments.................................................. 87
3.9 The influence of glocalisation............................................................................... 88
3.10 Data collection..................................................................................................... 89
3.11 The importance of auteur theories....................................................................... 92
3.12 Background to the interpretation process.......................................................... 94
3.13 The analytic process.......................................................................................... 95
3.14 Summary............................................................................................................. 97
Chapter 4: The Development of Japanese Anime
4.1 The influence of 'nihonjinron'............................................................................. 101
4.2 Influence of Japanese aesthetic traditions........................................................ 104
4.3 External influences............................................................................................. 110
4.3.1 South East Asia........................................................................................ 111
4.3.2 European influence after1868................................................................. 114
4.4 Early cinematography....................................................................................... 115
4.5 Early Japanese cinema...................................................................................... 116
4.6 Early Japanese animation................................................................................. 118
4.7 Post-war occupation 1945 – 1952.................................................................... 120
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4.8 The post-war development of anime.................................................................. 1 23
4.8.1 Development of production facilities....................................................... 123
4.8.2 The influence of Toei Doga...................................................................... 124
4.8.3 The influence of Osamu Tezuka (1928-1989)......................................... 126
4.9 Diversity in the 1970s, 80s and 90s............................................................... 130
4.9.1 Establishing the anime industry…........................................................ 131
4.9.2 Emergence of sub-genres....................................................................... 132
4.9.3 Anime's visual language.......................................................................... 143
4.9.4 The influence of 'otaku' fans.................................................................... 144
4.10 Anime in the twenty first century ....................................................................... 146
Chapter 5: Falling to Earth, Hayao Miyazaki (1941 - )
5.1 Defining the evidence......................................................................................... 149
5.2 Hayao Miyazaki's approach to animation…….................................................... 150
5.3 The establishment of Studio Ghibli.................................................................... 153
5.4 The nature of Miyazaki's auteurship….............................................................. 154
5.5 The evidence from selected works.................................................................... 156
5.5.1 'Tenkuu no Shiro Rapyuta' Laputa: Castle in the Sky, 1986.................... 157
5.5.1.1 Content analysis.................................................................... ….. 157
5.5.1.2 Cultural factors............................................................................. 161
5.5.1.3 Animation techniques................................................................... 164
5.5.2 'Tonari no Totoro' My Neighbor Totoro, 1988........................................... 170
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5.5.2.1 Content analysis........................................................................... 171
5.5.2.2 Cultural factors............................................................................. 175
5.5.2.3 Animation techniques................................................................... 177
5.5.3 'Kurenai no Buta' Porco Rosso,1992...................................................... 179
5.5.3.1 Content analysis..................................................................….... 180
5.5.3.2 Cultural factors..................................................................... ….... 188
5.5.3.3 Animation techniques.................................................................... 190
5.5.4 'Mononoke Hime' Princess Mononoke, 1997.......................................... 192
5.5.4.1 Content analysis.................................................................. …..... 192
5.5.4.2 Cultural factors............................................................................ . 196
5.5.4.3 Animation techniques.................................................................... 199
5.5.5 'Sen to Chihiro no Kamikakushi' Spirited Away, 2001.............................. 2 01
5.5.5.1 Content analysis.......................................................................... 201
5.5.5.2 Cultural factors.............................................................................. 2 0 6
5.5.5.3 Animation techniques................................................................... 208
5.6 Summary........................................................................................................... 210
Chapter 6: Pushing the Boundaries, Satoshi Kon (1963-2010)
6.1 Defining the evidence....................................................................................... 215
6.2 Satoshi Kon's approach to animation................................................................ 216
6.3 The influence of Madhouse Inc.......................................................................... 217
6.4 The nature of Kon's auteurship........................................................................... 219
6.5 The evidence from selected works..................................................................... 221
6.5.1 'Pafekuto Buru' Perfect Blue, 1997........................................................ 223
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6.5.1.1 Content analysis......................................................................... 224
6.5.1.2 Cultural factors............................................................................ 229
6.5.1.3 Animation techniques.................................................................. 235
6.5.2 'Sennen Joyu' Millennium Actress, 2001................................................ 238
6.5.2.1 Content analysis.......................................................................... 240
6.5.2.2 Cultural factors............................................................................. 245
6.5.2.3 Animation techniques................................................................... 247
6.5.3 'Tokyo Goddofazazu' Tokyo Godfathers, 2003........................................ 248
6.5.3.1 Content analysis........................................................................... 250
6.5.3.2 Cultural factors.............................................................................. 257
6.5.3.3 Animation techniques.................................................................... 2 58
6.5.4 'Paprika', 2006....................................................................................... 260
6.5.4.1 Content analysis…................................................................. …. 2 6 1
6.5.4.2 Cultural factors............................................................................ 268
6.5.4.3 Animation techniques................................................................... 272
6.6 Summary........................................................................................................... 273
Chapter 7: Other Worlds, Mamoru Oshii (1951 - )
7.1 Defining the evidence....................................................................................... 2 77
7.2 Mamoru Oshii's approach to animation............................................................ 2 7 9
7.3 The development of Oshii's auteurship............................................................. 2 85
7.4 The evidence from selected works..................................................................... 287
7.4.1 'Kido Keisatsu Patoreiba' Patlabor 2, 1993............................................. 287
7.4.1.1 Content analysis.......................................................................... 287
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7.4.1.2 Cultural factors............................................................................. 289
7.4.1.3 Animation techniques................................................................... 292
7.4.2 'Kokatu Kidotai' Ghost in the Shell, 1995.................................................. 293
7.4.2.1 Content analysis......................................................................... 293
7.4.2.2 Cultural factors............................................................................ 298
7.4.2.3 Animation techniques................................................................ 303
7.4.3 'Sukai Kurora' The Sky Crawlers, 2008................................................... 304
7.4.3.1 Content analysis.......................................................................... 305
7.4.3.2 Cultural factors............................................................................. 307
7.4.3.3 Animation techniques................................................................... 309
7.5 Summary............................................................................................................ 310
Chapter 8: Summary of the Study's Conclusions
8.1 The significance of anime in the global film tradition.......................................... 312
8.2 Anime as a novel form of animation................................................................... 314
8.3 The animation paradigm for anime……………………………………………….. 315
8.4 Evidence from the selected texts......................................................................
317
8.5 The identification of further research.................................................................. 320
References................................................................................................................... 322
Filmography.................................................................................................................. 345
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List of Figures Page
Figure 1: Toyota advertisement with Hatsune Miku..................................................... 86
Figure 2: Hologram of Aimi Eguchi............................................................................... 8 7
Figure 3: The transmedia paradigm after Dinehart (2006)........................................... 8 8
Figure 4: Shots in sequence from the experimental anime 'Jumping' (Tezuka, 1984). 101
Figure 5: 17th century illustration of 'Genji Monogatori' using 'Fukinuki-Yatai 106
technique.....................................................................................................................
Figure 6: 12th century illustration of 'Genji Monogatori'................................................ 107
Figure 7: Anime version of 'Genji Monogotori (Dezaki, 2008) showing Heian visual 107
forms............................................................................................................................
Figure 8: Ukiyo-e print by Utagawa Kuniyoshi of a famous Kabuki actor and a carp 109
kite..............................................................................................................................
Figure 9: Miyazaki's drawing of the Totoros in the style of Ukiyo-e print ……………. 109
Figure 10: Examples of similar scenes between Chinese (top) and Japanese 113
animations (below).......................................................................................................
Figure 11: Noh play filmed in 1912 (Albert Kahn Archives)......................................... 114
Figure 12: Characters in 'Umi No Shinpei (Mitsuya, 1944)....................................... 118
Figure 13: Still image from 'Fantasmagorie' (Cohl, 1908)........................................... 119
Figure 14: Characters in 'Maho no Pen' (Kumagawa, 1946)....................................... 1 22
Figure 15: Hand drawn scene from 'Hakujaden' (Yabushita, 1958)........................... 122
Figure 16: An example of Tezuka's manga 'Tetsuwan Atom' (1952)........................... 1 27
Figure 17: English poster for 'Astro Boy' (Ladd, 1965)............................................... 128
Figure 18: Comparison between 'Janguru Teitei' and 'Kimba - The White Lion'........ 1 29
Figure 19: Anime motifs used by Hollywood films (after Choo, 2008)........................ 134
Figure 20: Sony PaPeRo robots and Doraemon anime character …......….................. 1 38
Figure 21: Characters in 'Maho Kishi Reiasu' (Hirano, 1995) ..................................... 139
Figure 22: Typical 'shonen-ai' image........................................................................... 140
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Description:referencing selected works by Hayao Miyazaki, Satoshi. Kon and Mamoru Oshii. Ywain Tomos .. 5.2 Hayao Miyazaki's approach to animation…
