CLARA: WEEK 10

3) How do you think Buffy has influenced the contemporary vampire drama “True Blood” and the “Twilight” series of novels and films?

Braum (2000) says that “recent years have a marked increase…of these newer representations of the supernatural...including both inhuman beings and ordinary characters” (p. 67). Buffy definitely paved the way for the genre and has influenced various aspects of contemporary vampire dramas such as True Blood (TB) and the Twilight (T) series. In other words, there are parallels between the Buffy series and that of the other vampire films or stories today. For instance, there are similar archetypes in these three films but they do not necessarily follow the storyline. There is Buffy who is the heroine with superhuman abilities, TB’s heroine has supernatural abilities and T’s heroine has more interpersonal skills than relying on dormant gifts that develops later. These films also share the obvious fact that the protagonist is female with a ‘good girl’ complex and must always struggle emotionally (physically at times too) with the male antagonist, who is typically the ‘misunderstood bad boy’.

Another aspect of similarity is the representation of the fluidity of ‘evil’ and ‘good’ in which the boundaries are gradually pushed (Braum, 2000). It seems with Buffy, there are no fixed antagonists like Spike’s character who is meant to be the enemy; he crosses over the boundary into the friend zone at times. Even with T, the heroine – Bella makes friends with the ‘monsters’ whether they are vampires or werewolves and TB’s Suki is always surrounded by vampires, whether she wants or not. So, it takes on the idea of the love-hate relationship between the good guys and bad guys – struggling to co-exist. Basically, both Twilight and True Blood share the same themes as Buffy has already explored – this includes a common setting of the plot in a small town, isolated from the rest of society and explores sexuality between human and non-human compatibility.

Braum, B. (2000) The X-files and Buffy the Vampire Slayer: The ambiguity of

evil in supernatural representations. Retrieved 18 October, 2005 from: http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

CLARA: WEEK 9

2) What role does Hills (2004) suggest fans play in the construction of cult TV? How is new media central to this?

According to Hills (2004), there are two possibilities with regards to the production of television shows which entail a following of fans. Firstly, there are shows which influence the growth or creation of fans toward certain shows. On the other hand, cult television is not limited to just targeting a certain group as they may be aimed at larger audiences in mainstream networks but at times, accidentally categorised into that cult television. Centrally, Hills says that new media enables more “fan activities to be carried out both online and in real life” (p. 519) – technology makes it easier for fans to create online communities devoted to cult shows, television networks can post episodes online and fandoms can also organise/attend cult television based conventions.

Basically, both reasons are valid for the relationship between fans and cult television – shows can either unintentionally bring about a loyal group of avid viewers or those shows can be intentionally created for a market which already exists due to predecessors in the genre (Hills, 2004). New media such as the vast possibilities through the internet also influences the opportunities for avid fans, to engage in social interaction to do with their preferred shows.

REF LIST

Hills, M. (2004). Defining Cult TV; Texts, Inter-texts and Fan Audiences, The Television Studies Reader, in R. C. Allen & A. Hill. London and New York: Routledge.

CLARA: WEEK 6 (PART 2)

4) Finally, with reference to Cavallaro (2006), what distinguishes Mononoke technically as being it is generally agreed – a great work of anime?

According to Cavallaro (2006) the main aspects of what makes Miyazaki’s Princess Mononoke a great anime, are based on both visual and narrative focus. Aside from the typical anime visual quality commonly shown on television, Mononoke was created for the big screen so it was specifically designed to have more quality in its visual presentation. That is the CGI use to give a realistic or third dimensional look for a better audience experience as well as enhances the story. In other words, Cavallaro (2006) says that Miyazaki’s film relied on “style of motion as substantially more fluid and realistic, than one would expect of the average Japanese animation” (p. 126).

On the other hand, the presentation of the film was partially due to its reception but more importantly due to the narrative content. The film itself was a reflective representation of Japanese history, ideologies culturally specific to Japan as well as exploring themes of nature with relation to human nature. Cavallaro (2006) mentions that in Princess Mononoke, “deities, animals and humans…struggle to find viable places and roles” (p. 125) in an unstable society of fear toward the unknown. The quality in themes explored and story reflect life’s struggles, especially with regards to minorities and human versus nature.

REF LIST

Cavallaro, D. (2006). The Anime Art of Hayao Miyazaki. London: McFarland & Company.

CLARA: WEEK 6 (PART 1)

3) How do it and other Miyazaki films address the humanity/nature divide, according to Wright (2005)? Could Miyazaki’s vision be described as in some sense religious (in as much as it conveys a sense of the sacred)?

As Wright (2005) suggests, Miyazaki’s films seem to have recurring themes of the binary opposition between humanity and nature – there is “symbolism and narrative” (p.12) of the role people have had in the progress of destruction or construction of nature. Most of his characters are made up of two sides, such as the humans versus spiritual forms and there is usually an issue that is central to the film. Wright (2005) also mentions that Miyazaki’s films have subtle suggestions to make life a bit easier such as “the removal of pollution to restore the essentially pure state of nature and of the human spirit” (p.12). This can also be read as a literal action for the environment as well as a spiritual state of cleansing.

Wright (2005) states that “Shinto has been a part of Japanese culture for more than two millennia, and has provided a cultural framework for the integration of new ideas, while maintain the essence of old ones” (p. 13). I guess, in a way Miyazaki’s works have been influenced by spirituality as it also seems that he has concerns to do with the relationship between nature’s progress and humanity’s affect as consequential of their struggle to co-exist. He himself may be spiritual or he just personally thinks that the natural order of things depends on how people treat the earth, especially in times of desperation due to the current global issues of global warming, extinction of species and natural disasters.

REF LIST

Wright, L. (2005). Nature Spirits, Giant Insects and World Trees: the nature vision of Hayao Miyazaki. In the Journal of Religion of Popular Culture. Volume X: Summer 2005.

CLARA: WEEK 5 (PART 2)

4) What is the ‘shoujo’ and how does it often function in anime?

The term ‘Shoujo’ as Cavallaro (2006) mentions, translates as young girl (p. 29) and is also the basis of audiences within Japanese youth culture. In other words, shoujo is also a genre of anime with its many sub-genres with specific characteristics aimed toward young girls as its target audience. A characteristic of this anime genre is that the protagonist is most often portrayed as a female heroine with a minor exception that it is a male protagonist but it still follows a certain structure. That is, usually the plot would follow a romantic comedy type routine or at least, inclusive of some kind of romantic potential of sorts (Cavallaro, 2006). The main aspects of shoujo genre anime, according to Cavallaro (2006) “show images of powerful young women – women’s empowerment over the last two decades and certainly suggest alternatives to the notion of Japanese women as passive and domesticated” (p. 33). With regards to Miyazaki’s Princess Monoke, the protagonist is a female heroine and the potential male counterpart is portrayed by Prince Ashitaka; who adds to the interesting relationship between himself and San.

REF LIST

Cavallaro, D. (2006). Introduction. In The Anime Art of Hayao Miyazaki (pp.5-13). London: McFarland & Company.

CLARA: WEEK 5 (PART 1)

1) According to Lent (2000), what place does animation occupy in Asian societies? How different is this across Asia (i.e. comparing China and Japan)?

According to Lent (2000) “the Chinese, perhaps more than any other Asian animators save those of Japan, were insistent on adapting only those elements of foreign animation that fit their culture, never favouring full adoption”. That is, each Asian country has had some kind of influence from both neighbouring countries and Western animation to create their own culture specific model. Mostly, Eastern animation is a mode of entertainment but the difference is how each country treats it and the regulations which their Governments place on it. For instance, the similarity between Chinese and Japanese animation is in its culturally and nationally reflective the content. The difference lies in the purpose, ideologies and levels of propaganda use – mainly, it is China with its Government regulating their broadcast content whereas Japan’s got more freedom with its various genres and risqué content.

REF LIST

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or

adaptation. Retrieved 21 June, 2006, from AnimeResearch.com

CLARA: WEEK 4

3) What parallels can you find between A Wizard of Earthsea and The Harry Potter Franchise?

What other influences does Burn (2005) suggest for Harry Potter?

There are several aspects of similarities between A Wizard of Earthsea and that of The Harry Potter Franchise. Firstly, both works share similar plot structures such as both protagonists start out from simple beginnings, they are drawn to the fight against evil whether they want to or not, they enter a world of danger as eager students and leave their mark as unlikely saviours, they progress into adulthood with every experience and become mature in terms of their outlook on life as well as creating long lasting friendships. Secondly, both Harry and Ged share parallel characteristics such as being full of youthful dreams to escape their simple lives, find acceptance within a training institution – this also comes with friendships and rivalries, they act before thinking at times and barely survive the consequences and they share a facial scar which is a constant reminder of their motivation to complete their magical journeys. Lastly, the two adventures are the same in terms of themes such as magic, the ideology of good versus evil and the possibility of overcoming the latter, the uniqueness of being different, the strong bond of friendship, the complications of adolescence, self-discovery and family.

The other influence that Burn (2005) suggests for Harry Potter are from fairy tales and stories which children are already familiar with as well as other forms of popular culture. This ranges from classic literary works for the young to more modern platforms such as games – whether it is electronic or original forms; this is evident in terms of visual and narrative structure of the popular franchise.

REF LIST

Burn, A. (2005). Potter-Literacy – from book to game and back again; literature, film, game and cross-media literacy. Papers: Explorations into Children’s Literature Vol 14, No 3.