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01_Cinema_FM.qxd 13/1/06 1:58 PM Page i Cinema Anime This page intentionally left blank 01_Cinema_FM.qxd 13/1/06 1:58 PM Page iii Cinema Anime Critical Engagements with Japanese Animation Edited by Steven T.Brown 01_Cinema_FM.qxd 13/1/06 10:34 PM Page iv CINEMAANIME © Steven T.Brown,2006. All rights reserved.No part of this book may be used or reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles or reviews. First published in 2006 by PALGRAVE MACMILLAN™ 175 Fifth Avenue,New York,N.Y.10010 and Houndmills,Basingstoke,Hampshire,England RG21 6XS Companies and representatives throughout the world. PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St.Martin’s Press,LLC and of Palgrave Macmillan Ltd. Macmillan® is a registered trademark in the United States,United Kingdom and other countries.Palgrave is a registered trademark in the European Union and other countries. ISBN 1–4039–7060–2 Library of Congress Cataloging-in-Publication Data Cinema anime :critical engagements with Japanese animation/ edited by Steven T.Brown. p.cm. Includes bibliographical references and index. ISBN 1–4039–7060–2 1.Animated films—Japan.I.Brown,Steven T. NC1766.J3C56 2005 791.43(cid:2)340952—dc22 2005052934 A catalogue record for this book is available from the British Library. Design by Newgen Imaging Systems (P) Ltd.,Chennai,India. First edition:April 2006 10 9 8 7 6 5 4 3 2 1 Printed in the United States of America. 01_Cinema_FM.qxd 13/1/06 1:58 PM Page v ForAstro Boy’s Biggest Fan, Gabriel This page intentionally left blank 01_Cinema_FM.qxd 13/1/06 1:58 PM Page vii Contents 1. Screening Anime 1 Steven T.Brown Part I Towards a Cultural Politics ofAnime 2. “Excuse Me,Who Are You?”:Performance,the Gaze,and the Female in the Works ofKon Satoshi 23 Susan Napier 3. The Americanization ofAnime and Manga:Negotiating Popular Culture 43 Antonia Levi 4. The Advent ofMeguro Empress:Decoding the Avant-Pop Anime TAMALA 2010 65 Tatsumi Takayuki Part II Posthuman Bodies in the Animated Imaginary 5. Frankenstein and th e Cyborg Metropolis:The Evolution ofBody and City in Science Fiction Narratives 81 Sharalyn Orbaugh 6. Animated Bodies and Cybernetic Selves:The Animatrixand the Question ofPosthumanity 113 Carl Silvio 7. The Robots from Takkun’s Head:Cyborg Adolescence in FLCL 139 Brian Ruh Part III Anime and the Limits ofCinema 8. The First Time as Farce:Digital Animation and the Repetition ofCinema 161 Thomas Lamarre 01_Cinema_FM.qxd 13/1/06 1:58 PM Page viii viii CONTENTS 9. “Such is the Contrivance ofthe Cinematograph”: Dur(anim)ation,Modernity,and Edo Culture in Tabaimo’s Animated Installations 189 Livia Monnet Bibliography 227 Notes on Contributors 239 Index 241 02_Cinema_01.qxd 13/1/06 1:58 PM Page 1 1 Screening Anime Steven T.Brown Cinema not only puts movement in the image,it also puts movement in the mind....The brain is the screen....Cinema,precisely because it puts the image in motion,or rather endows the image with self-motion [automouvement],never stops tracing the circuits ofthe brain.1 —Gilles Deleuze Cinema Animecharts the terrain ofcontemporary Japanese animation, one of the most explosive forms of visual culture to emerge at the crossroads of transnational cultural production in the last twenty-five years.This collection ofessays offers bold and insightful engagements with anime’s shifting negotiations with gender identity, anxieties about body mutation and posthumanity,and the asymmetry between two-dimensional cel animation and thre e-dimensional digital cinema.The contributors to Cinema Anime dismantle the distinction between “high”and “low”cul- ture and offer compelling arguments for the value and importance of critical scholarship on popular cultural flows in the transnational spaces oftranslation from the local to the global. Rather than recapitulating the conventional distinction between “cinema”and “animation”that devalues anime as somewhat less than the cinematic standard of live action film, Cinema Anime explores anime’s hybridity ofdifferent styles and modes ofimage making.Instead ofbeing defined as a pale reflection of national cinema, anime is repositioned along a continuum of visual production mapped in relation to the inter- secting and multidirectional lines oftransnational movement out ofwhich political, economic, social, technological, ethnic, and aesthetic flows emerge,coalesce,enter into conflict,and take flight.Authors discuss anime by Japanese directors ranging from Kon Satoshi to Oshii Mamoru,from
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