Category Manga and Japanese Identity

kodama_princess_mononoke

Mononoke: 20 Years of Animated Imperialism

Mononoke is for many, once even for myself, a sacred object, a relic that embodies a transcendent anime ideal and to which, much like the bones of martyrs, the “true fan” must pay obeisance after a long pilgrimage. Even now with my ideological misgivings I have to admit that the film is breathtakingly beautiful, its pacing clear and direct–it tells its story well. But the question as to whether it’s a good story, one that bears the ceremonious retelling that an anniversary would seem to demand, remains an open question.

shiina_ringo_sagi_musume

40b. The Mobilization of Shōjo Culture pt. 1

There were–and remain–then, two forms of sexual expression that were both mandated and directly overseen by the Imperial (now “democratic”) state: motherhood and prostitution. With motherhood, the state controlled the means of reproduction, the means by which imperial subjects were created and inculcated with certain values. Prostitution was sanctioned by the state in order to appease the all male military and keep them in line. Stability in the military was important given the frequency with which splinter factions within it mounted insurrections meant to “restore the Emperor,” a polite euphemism for “our ruling on his behalf.”

gits_j_333

39. Of Ghosts and their shells, or When “whitewashing” arguments fall flat

Oshii’s animated film and its source material posit a world in which one’s racially marked body is rendered irrelevant, that it can be discarded at any time for another that in no way resembles one’s “original” racial makeup. To be sure, the choice to cast Johansson as Kusanagi is likely a cynical one, but at the same time casting a white woman in an “Asian” role could be read as a subtle reflection of the very indifference to race and to conspicuous racial markers that both the underlying narrative and the mukokuseki ethos of Japanese commerce cannot help but embody.

31b. The All Important What Question pt. 2 – [Japanese] Visual Language

So, last week I went on a bit of a philosophical/theoretical tangent with a mind to explaining where much of what I have to say not only in today’s post but throughout the run of this blog comes from conceptually.  I would strongly suggest, dear reader, that you go back and read it before advancing […]

28c. White Lines – Shōjo Manga and Racial Difference

Shōjo manga draws a great deal of critical attention, because its very existence as both a demographic and conceptual category, for better or for worse, foregrounds questions of gender to the same degree that shōnen, as I have previously argued, tries to minimize them.  Shōjo manga seem to play with gender and how gender is construed, romantically […]

26. Ansatsu Kyōshitsu, or Shōnen’s Aburdist Critique

I was all set to sit down and write about today’s topic, when a few days ago I got sidetracked by a challenge to my critical acumen that, in the heat of the moment, I thought I had to answer.  Thankfully, in time cool-headed reflection prevailed, and I realized that responding to petty challenges is […]

25. The [a]Moral Logic of Shingeki no Kyojin

It surprises me sometimes how little shōnen manga is treated in the academic and pseudo-intellectual literature.  Far more attention is paid to shōjo manga and its social function in constructing for young readers a particular conception of girlhood.  Moreover, I’m surprised how little the ever recurring themes of shōnen manga are compared with and understood in the context […]