Week 3 Fantasy

How is science fiction different from fantasy according to Le Guinn.

According to Le Guinn (200?), science fiction and fantasy differs from several dimensions. First of all, most science fiction time line is the past or future happening related to the contemporary real world while fantasy is imaginary world which is very new and creative by author’s imagination. Secondly, in science fiction, characters’ acts are as general as people. However, in fantasy, characters do not need to be human and could be different from the human being unexpectedly. Lastly, science fiction is plausible story like realism fiction. Plausibility in Fantasy is only the coherence of the story, its consistent self-reference in improbable happenings.

In what ways does Tax (2002) suggest Earthsea may still be relevant today?

Tax (2000) suggests that Earthsea may still be relevant today. First of all, the Earthsea books keep the fantasy’s fundamental factors which consist of outside of normal life and realistic patterns. This brings about childhood, heroism, secret challenges to power such as dragon and the land of death-in-life so on. The Earthsea books also avoid political but more focus on inner life. Therefore, readers can be free from real life which leads to engage not only children but also adults into the Earthsea books. Secondly, although Le Guin wrote books irregularly which are not regular marketing intervals against industrial society, contemporary capitalism society has been changing very rapidly in moral and mental so people would find rest in fantasy which is unchangeable truths, and secure and stable myths. Finally, fantasy breaks racial and religion barriers. Nevertheless, Le Guin furthermore created female characters’ rolls differently from in other fantasy’s which is relevant to contemporary society’s issue.

References.

Le Guinn, U. (200?). Plausibility in Fantasy. Retrieved 25, June, 2005 http://www.ursulakleguin.com/PlausibilityinFantasy.html

Tax, M. (Jan 28, 2002). Year of Harry Potter, Enter the Dragon. In The Nation.

Week 5 Anime

1. What is the "Shojo" and how does it function in Anime?

The Shoujo or Shojo is a subgenre of anime which has more of a feminine psyche. Princess Mononoke is an example of a Shojo. The words Shoujo literally means "little female" and is also a description for girls aged 12 or 13. From another point of view, it represents the stages of life from infancy to adulthood which is mostly portrayed my Miyazakis characters. As stated "what fascinates the Japanese is that the Shoujo nestle in a shallow lacuna between adult"(Prindle 1998, p. 35). Like in Miyazakis stories the Shoujos have motive they have a point and they lead, they represent a sense of masculinity in ways without taking men out of context.

2. Is Anime a genre or a media?

Coming from an asian background, Anime is more regarded as a genre rather than media. Anime is found more in depth rather than just entertainment. For the most part Anime doesn't possess much commercial or political agendas which the normal media is bombarded with. I guess it also differs from another cultures point of view, as in the west, Anime is more of a cult genre althought its popularity is catching up sincee the transtion of the west or should I say Americans from traditional cartoons to 3D left them with little imagination. Anime on the otherhand although not as competitive it is consistent and becomes more interesting.

Week 3 Fantasy

1. How does Attebury define fantasy?

Fantasy includes stories like Tolkiens Lord of the rings, Lewis's Narnia, The Wind and the willows and The Princess and the goblin as stated by Attebury. The first definition given is that Fantasy is "an overt violation of what is generally accepted as possibility". In other words it means a concious belief what people think exist. Antother definition of Fantasy is "any narrative which includes as a significant part of it make up some violation of what the author clearly believes to be natural law". Attebury also mentioned how a story can be defined as Fantasy. "It can involve beings which existence we know to be impossible, like dragons, flying horses, or shape shifting men". These elements of which can be found in Tolkiens LOTR franchise. Another is that Fantasy "can revolve around magical objects such as rings, hats or castles, voices and other attributes inanimate objects, do not, in our experience possess" but then again in my opinion witchcraft and wizardry is real. Another element of Fantasy is that "it can proceed through events e.g. two people painlessly exchange heads, a tree reaching out to grab passersby" In simple terms fantasy in other words is an escape from reality.

2. How is Science Fiction different from Fantasy according to Le Guinn?

Unlike fantasy, Science fiction explains impossibilities can be plausible. "Science fiction derives from victorian scientific speculation by writers like Conan Doyle and H.G. Wells, while fantasy grew out of myth". Science fiction differs from reality in a sense that the elements within a Sci-Fi story are based on reality and Fantsy on the other hand invents. Science Fiction stories are mostly based in the future or a switch between time. Examples like Well's War of the worlds or Star Wars. Fantasy however take place in fictional worlds full of magic and the unexplained. Stories such as Tolkien's LOTR and Le Guinns Earth Sea series. Science Fiction and Fantasy may have different elements and concepts but in all they are both made up.

Week Six - Fantasy

What are the underlying thematic’s of Princess Mononoke?

Wright (2005, p. 3) states that there are a few underlying thematics within ‘Princess Mononoke’. She highlights the fact that Miyazaki “has infused his richly detailed worlds with an animistic ontology that references ancient Japanese beliefs, practices and myths.”

By watching Princess Mononoke it is evident to see that this underlying idea of traditional Japanese practices are highlighted throughout the film. Chapters within the film exhibit traditional Japanese arts, architechture and practices such as humanity, courage and respect for the environment. Although, in my opinion, this idea that we have of the Japanese being respectable to their environment has been rejected in Princess Mononoke. Princess Mononoke commands her men in this instance to try and destroy the Forest Spirit. This is actually a contrast to the percieved actual ‘Japanese values’ which are like I said before, meant to be ones that show respect to their landscapes and surrondong environments. Yet Wright (2005, p. 3) suggests that there is “a possibility of a mysitcal connection between humans and the natural world...at the same time [Miyazaki] refuses to deny the current reality of modernity and industrialisation,” which was represented in the Princess’ desire to kill the forest spirit.

However on another note, the architecture and landscapes seen throughout the film are similar to that of the ‘real world’ Japanese landscapes. I’ve attached a photo of both landscapes (from the film and from real life). The shape of the hills and landscape in the film are similar to that of real life Japan. “The production team were also deeply connected with achieving the maximum fidelity to the type of environment...” Cavallaro (2006, p. 120).






Another point I noticed in Princess Mononoke was how Jigo and and Ashitaka were quite empathetic and could identify with one another. i.e. when Jigo helps Ashitaka buy some rice. Jigo was not really a main character throughout the film but his ideals and values (shown in helpping Ashitaka), were briefly brought to light in the film, representing the traditional values of the Japanese people and families. Wikipedia briefly mentions this, stating that the Japanese race is “full of empathy” and “identifying oneself with another is highly valued.” Wiki (2010)

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

Cavallaro suggests that Mononoke is a great work of Anime throughout his writing.
He speaks quite highly of Princess Mononoke.

There are a number of reasons Mononoke is seen as a great piece of Anime. One being that is was the “first Studio Ghibli production to receive substantial theatrical distribution in the U.S.”. Cavallaro (2006, p. 121). It also “rapidly outdisttanced the previous record holder ET” and it had “grossed more than $150 million in a country with one-half the U.S population”.
Surely there was a reason behind its amazing success?

An obious reason was because of the Japanese’s “fascianation with legend, mythology...etc.” Cavallaro (2006, p. 120). Also its “confrontation of troubling existential issues” was something that also made it a great piece of anime. It higlights issues within Japanese culture and can be seen as a “metaphor” for the bizarre things of life. It is therefore not only a piece of entertainemnt, but like I said last week it holds meaning and depth to it. The characters themselves are also very typical and relate to the ‘normal’ ideas surronding traditional villian and hero storylines, yet they have been shown in a Japanese ‘light’, hence the reason for it’s poularity amongst the Japanese. In saying this it was also a great hit in the U.S as mentioned earlier. I think because it was relatively close to home for most people as well, we could all understand and relate to it, as it has a story line which is easy to follow and like I said, typical to that of a fantasy plot. (Intro, events, conclusion, resolution). And whether you are a child or an adult, you can still enjoy it as much as the other. What they “found was that the children actually understood the movie and that we were trying to say more than adults...I wanted to be honest with the young audience, to tell them that human society is not fundamentally blessed.” Cavallaro (2006, p.121). So it just highlights this idea that anyone can watch it and that whether you are a child or an adult, both will take a different meaning from it. Yet, children can still understand the fundamental ideas and values being portrayed.

Therefore it is such a great piece of Anime as it holds much more meaning than just a story for entertainment value.




Reference List

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

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.

Week 2 Sky is falling

1. What does Baetons (2001) mean by "monstration","graphication" and the "graphiateur"?

Baetons defines "monstration" as simply the factor of the story which states the obvious. This usually has to do with the actions and the graphical sequence of comics. Which is what "graphiation" and "graphiateur"does. Graphiation is the visual environment or theme of the story and the Graphiateur is the perpetrator. Almost all Comics have this since there is little for dialogue. For this reason which makes Comics enjoyable to read. A book has a unique sense of progression where as Comics have a consistent style without making the reader jump or skip into the next chapter or scene.

2. What does khordic think the Asterix series does better than Herge's Tintin?

There are  few issues between Asterix and Tintin which make one better than the other. As stated by Khordic, Asterix had the better advantage in noise techniques than Tintin. Khordic looked at Herge's use of speech balloons which occupied a percantage of the frame which makes Tintin dependent on dialogue. Asterix on the other hand had good use of visual sounds and mix of speech balloons.

Week 1 Tintin

1. How does Farr (1991) justify Tintin's appeal to adults?

Herge originally made Tintin for a younger audience. However, Farr explained adults have more appreciation for the content and the point Tintin has. Whereas the younger audience are more taken by Tintins colorful graphics and the adventurous ideas. Farr wrote that adults have more understanding of the agendas Tintin cointains. The Tintin series attracted adults because of its realistic approaches to current events at the time. The reality of the storyline and the accuracy of graphical detailing makes Tintin more interesting and appreciated by adults which makes it also a special type of art.

2. Do you think comics are a childrens or adults genre?

From my point of view, If I was back in my younger days, I would have said Comics are for children and the like simply because of its cartoon type graphics and fun approach. However, now, I would say Comics are also for adults. Furthermore in general, Comics are for everyone. There are different genres of Comics to choose from such as comics for young children, pre-teens,and adults. But somehow Tintin has all of those elements which makes it a general type of comics that anyone can relate to. From a childs point of view Tintin is cool and fun but from an adults point of view Tintin is interesting and educational.

week 5 - Anime

Is anime a genre or a media?

I personally think that anime should not be classed as a media as it is not widely viewed or accepted as most mass media. But in saying this, anime has been very popular over the world with movies and tv programmes such as Dragonball Z and Princess Mononoke have been widely loved and accepted within our society as a type of media. Transformers the cartoon series was so popular as a anime that it got made into a film and blew out the box office. Anime genre is becoming more and more accepted into our society today as the technology has become more advanced, because anime is an artform it can be classed as a media and a genre. Animation is an artform combining the medium of film and fine art. If we classify animation according to national origin, then anime is a Japanese artform, and cartoons are an American artform, as subcategories of the classification artform. If however, we are referring to specific artistic characteristics shared by anime or cartoons, then those become genres of the animation artform, with further subgenres including shoujo, mecha, etc.

So whether or not anime is a genre comprised of subgenres depends on how one is referring to anime at a given time. If one is arguing that anime has specific artistic characteristics that distinguish it from the specific artistic characteristics of cartoons, then anime and cartoons become genres
instead of just national artforms.

What is the ‘shojo’ and how does it often function in anime?

"The term Shojo (spelt ‘Shoujo’ in Cavallaro, 2006) is known as romantic comedy anime.
This type of anime involves young girls aged around 12 – 13. Napier states that Shojo in anime functions to give excitement, as this is rare to Japanese males who are caught up in the stress of their professional workplace. Shojo is also popular with young girls as they are drawn to the ‘cuteness’ portrayed in these stories." which pretty much means that is type of function was created to appeal to a younger audience, typically girls aged around 12 to 13. It is appealing to them as it shows the girls as the heroines which is a great change than the usual guys fighting guys and girls being portrayed as "weak." There is a popular subgenre of shōjo called mahō shōjo, or "magical girl". While there are many subgenres of shōjo, this one is predominant enough to warrant a special mention. In said subgenre the heroines receive magical powers, usually for the purpose of fighting evil in the name of love and justice. Elaborate transformation sequences and cute costumes are a staple of magical girls. This subgenre also tends to feature more action than traditional shōjo.

References -

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 21

June, 2006, from AnimeResearch.com

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave Macmillan.

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving Castle (pp.15-34). Hampshire: Palgrave/Macmillan.

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

Week 5

What is the ‘shojo’ and how does it often function in anime?

The term Shojo (spelt ‘Shoujo’ in Cavallaro, 2006) is known as romantic comedy anime.
This type of anime involves young girls aged around 12 – 13. Napier states that Shojo in anime functions to give excitement, as this is rare to Japanese males who are caught up in the stress of their professional workplace. Shojo is also popular with young girls as they are drawn to the ‘cuteness’ portrayed in these stories.

Miyazaki’s young females are unquestionably shojo, based on their age and general appearance. Although, (as cited in Cavallaro) Miyazaki is defended with the statement “Miyazaki’s heroines are active, independent and inquisitive – to the point that some commentators have described them as “youths wearing shojo masks”” (pg. 11)
Miyazaki backs this statement up by declaring he had no intention of representing attractive young girls as “play toys” or “pets” for complex men.
Miyazaki’s most recent productions show that he steered clear of the conventional notions of young feminine beauty altogether and portrayed the characters with only sheer physical attractiveness (Cavallaro, 2006).


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

In Asian societies, anime has occupied large areas such as the mass media. Politicians have used campaigns that have anime to attract the support of people to follow their leadership. Lent (2000) also states “In economic terms, animation found its niche in parts of Asia” where the many foreign studios and co-production schemes brought in foreign money. The Korean government was the main contributor when it found out that animation had many economical advantages and represented most of the country’s cultural products exports.

Lent (2000) states that many of Japan’s anime companies went into partnership with the USA in the hope of decreasing the effects of the economic downturn that occurred in the 1990’s.
However, in the past, the Chinese government has viewed foreign animation with suspicion (Lent, 2000) and therefore banned foreign anime to make room for local cartoon characters and to promote their own anime as it is considered to be more related to China’s cultures and values.
Also, an obvious relationship is present between animation and other mass media in Asia. In Japan, manga and anime feed off one another, whereas in Hong Kong and Taiwan, many Japanese anime evolve into live action films and television drama series. Lent (2000)

I believe that Japan’s choice to partner with American anime is the most realistic decision rather than banning foreign anime and one example of this that Lent (2000) states is the joining of Japan’s Tokuma Shoten Publishing Company NB and America’s Walt Disney International

References:
Cavallaro, D. (2006). The Anime art of Hayao Miyazaki. London: Mc Farland & Company.

Lent, J. A. (2000). Animation in Asia: appropriation, reinterpretation, and adoption or adaptation. Retrieved 23 August, 2010, from AnimeResearch.com

Week 5 - Anime

Hey guys.... another week has come for another entry!!!!.....

First question up i am going to answer..

Is it a high or low cultural genre, according to Napier (2005)? What are some of it's subgenres?

According to Napier Anime cannot be categorized so easily as either high or low culture, but it does comprise a mixture of both high and low.. ( Napier 2005)

First off though info about Anime..... Japanese animation means Anime as it is now refered to. Anime is a popular cultural form that clearly builds on previous high cultural traditions. Anime is far more important in Japan than in the West, is truly a mainstream pop cultural phenomenon. And is also a useful mirror on contemporary Japanese society. (Napier, 2005)

High culture that is around Anime is Kabuki, woodblock prints and low culture is 20th century cinema and photography. I also read that Napier states that Japan has been known for such "high cultural" products as Haiku, Zen and martial gifts...... (Napier 2005),

Subgenres in Anime are Shojo (as cited in Cavallaro), Science Fiction, Asian Traditional ideas, Western Traditional ideas, myths and legends and so on...

"The three modes used to examine Anime are the ones that go beyond any distinction between high and low culture", the three dimensions that are talked about in this quote are apocalyptic, festival and elegiac. (Napier, 2005)

I personally think that Anime is a high culture because it's known around the world and is popular which is why i think you can call this high culture.

Next question........

What is Shojo and how does it often function in Anime?

Shojo means Romantic comedy Anime (Napier 2005), how does it function in Anime well Cavallaro states that Shoujo means "little female" and is commonly used to designate girls aged 12 - 13. (Cavallaro, 11). I noticed while double taking that Cavallaro spells with a U and Napier spells it without which i found rather interesting!...

Napier states shoujo for males who are caught in the network of demanding workforce responsibilities... (cited in Cavallaro, 2006) and Miyazaki's states young females are unquestionably shoujo in terms of their age and general appearance, (Cavallaro, 2006)...

Prindle stated that " what fascinates the Japanese is that the shoujo nestle in a shallow lacuna between adulthood and childhood, power and powerless, awareness and innocence as well as masculinity and feminity. (Prindle, 1998).

I personally cannot believe that young girls are classed the same as pets! or play toys for men... are these role models????

REFERENCES..

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Cavallano, D. (2006). The Anime art of Hayao Miyazaki. London: Mc Farland & Company.

Week Five - Anime

Is it a high or low cultural genre/media, according to Napier (2005)?

“Anime is a popular cultural form that clearly builds on previous high culture traditions.” Napier (2005, p. 4).

So this pretty much sums up the fact that Napier regards Anime to be constructed from high culture values and ideas. It’s interesting to note how popular Anime has become within the Western Society. As we know, Anime can be seen as a popular Japanese art form, which is being brought to life in movie theatres around the world and not only just in Asian countries or Japan.

I believe it is fair to say that in regards to its ever increasing popularity around the globe, that Anime can be defined as high culture. The fact that it also shows “influences from Japanese traditional arts such as Kabuki and woodblock print but it also makes use of worldwide artistic century cinema and photograph,” according to Napier (2005, p. 4), should give it some sort of recognisable status within the high culture genre. Anime is not only a form of entertainment but just like Herge’s work, it highlights issues within today’s society such as “technological development, gender identity and relations between the sexes, and the problematic role of history in contemporary culture.” Napier (2005, p. 10). Anime has depth to it and it is not only a wonderful work of art, but it holds meaning and values, leaving the audience not only entertained by also allowing them to think about arising issues and questioning such things as “the shifting nature of identity in a constantly changing society.” Napier (2005, p. 12).

Anime is a perfect medium to make us think and for us to feel challenged about issues concerning today’s society and our values. It therefore, is most definitely not just aimed at children as many people think. If it was just aimed at children and held no in depth meaning to it I would be lead to believe that it was a form of low culture media. However this is not the case! As I mentioned earlier it depicts “powerful resonance with contemporary society and culture” ideas and issues, Napier (2005, p. 12). So it is therefore and should be highly regarded as a ‘high culture’ genre as it digs deeper into morals and traditions, unlike just mainstream children’s cartoons.



Is anime a genre or a media?

To be honest I didn’t actually know that there was a distinct difference between the two. After briefly doing a quick dictionary search I see otherwise.

Media, being “tools used to store and deliver information or data” and genre being simply “the term for any category of literature as well as various other forms of art or culture e.g. music, based on some loose set of stylistic criteria”, Random House Dictionary (2007), I can now confidently say that Anime is most certainly a genre!

Anime, like I discussed earlier holds not only entertainment values but also social and traditional values. Therefore it cannot just be a media. It holds more depth than just a tool used to deliver information.

In saying this, Anime was not always noted to be an “important part of the Japanese popular culture industry”. Napier (2005, p. 16). It had to work its way up to earn the title as a ‘genre’ as such. With Western films having appeared in Japan since 1909, “Japanese animators began to create their own work by 1915, and animation as a commercial art form really got started in the postwar period”. Napier (2005, p. 16).
Anime initially was a form of entertainment and it wasn’t “for a long time [that] it was clear that opportunities for the new and original were far more likely to be found.” Napier (2005, p. 17). New ideas and cultural heritage became evident throughout the work and with more and more scholars beginning to analyze Anime has it become evident what is really held in amongst the Japanese works.

Clearly through these findings, Anime has become a piece of art with much more meaning being established behind it. It is fair to say then, that Anime is a genre.

Reference List

Napier, S. (2005). Anime and Local/Global Identity. In Anime: from Akira to Howl’s Moving Castle (pp.15-34). Hampshire: Palgrave/Macmillan.

Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp.3-14). Hampshire: Palgrave/ Macmillan.

Week 4

What parallels can you find between 'A Wizard of Earthsea' and the 'Harry Potter franchise?'
I have just put up one question for now but will add the rest later.

In last week’s reader, Tax (2002) did a comparison on the authors of both of these stories based on their success and franchise and I found it quite interesting.
The opening statement was “%90 of the articles I have read about J.KRowling deal with her not as a writer but as the commercial equivalent of a comet whizzing into atmosphere.” (pg.15)
This is to say that J.KRowling was so overwhelmed by the reaction she got form her first book that the pressure was on to be able to produce the same thing again and again – she was influenced by the commercial aspect.

Tax states a very good question that successful writers are faced with: “Do you stay faithful to the inner voice or turn yourself into a marketable commodity, producing a new product of the same kind every year or two?”(pg.15)
Tax believes that unlike Le Guin, J.K.Rowling was tempted by the great social and economic rewards for choosing to market herself instead of staying faithful to her inner voice. Of course there’s nothing wrong with that, if I was a successful writer I would most probably get greedy and market myself by writing what the fans will want to hear, read and buy. Even if it means having to change my original story and idea.

Le Guin on the other hand chooses the other road and stays faithful to herself. She has written over forty books and none are merely commercially motivated or predictable. It’s almost as if she writes for herself in stead of her readers which works in her favour. Tax states “She probably drives the industry crazy; it doesn’t even know whether to classify the Earthsea books as Children’s literature or adult” (pg.15)
Le Guin’s writing is different, risky and what most businessmen would hate most because her work is always challenging and unpredictable. For example her last Earthsea book was in 1990 and then out of no where she wrote two in one year, no regular patterns and no interest in the marketing intervals. Nonetheless, Le Guin’s Earthsea books are profoundly radical and respected by many as she leads her readers to think and feel outside the details of everyday life and let the imagination be set free.

I leave you with the question that will have many different answers and opinions:
Have the Harry Potter books been treated seriously, as a literature, or as a marketing phenomenon?

References:

Tax, M. (Jan 28, 2002). In the Year of Harry Potter, Enter the Dragon. In the Nation

Week two

1. According to Horricks (2004), how have perceptions of comics
changed?

According to Horricks (2004), In the 1950s, comics were regarded as bad influence to children in America, England, New Zealand. Comics have been criticized on the National radio by R.R.D. Fairburn whereas Bill Pearson also have written to Landfall that comics were ruining children and if children were banned to read comics, war could be reduced. However, nowadays, comics ,graphic novels, are regualarly reviewed in the NY REview of Books, have beeen awarded the Pulizer Prize and Guardian Fist Book Award. Even comics have been reviewed and published by Landfall.

2. What does Khordoc think the Astrix series does better thand Herge's Tintin?

According to Khordoc (2001), although Herges create of effect of sound in Tintin book series, it is not enough 'audiable' or 'noisy' than the Astrix series. Because Tintin series are based on narrative plot and charactors are narrative too so, the story have the speech balloon and rely on the text too. In the case of Asterix, sound is used creating humor, which is the series' main purpose.


References

Horricks, D. (2004). The Perfect Planet: Comics, games and world-building. In Williams,

M. (Ed.), Writing at the Edge of the Universe. Christchurch: U of Canterbury Press.

Khordok, C. (2001). The Comics Book’s Soundtrack: Visual Sound-effects in Asterix.

In Varnum, R. & Gibbons, C. (Eds.), The Language of Comics: word and image,

(pp.156-173). Jackson: U Press of Mississippi.

Week 1 blog Tintin

How does Farr (1991) justify Tintins appeal to adults?

According to Farr (1991), although, Tintin’s series are adventurous illustrated books, there are some reasons why Tintins appeal not only to children but also adults. First of all, there were high quality of narratives and strong story lines based on the real world. In addition, because of Herge was a perfectionist, he prepared and managed until he was satisfied. His illustrates were so detailed linked to real world and it could be described as ‘Tintinesque’ that adventures in the everyday life. Readers also can find real historical events and facts which contain political satire, parody, puns and prescience. For example, Pearl Harbour or the first manned landing on the Moon. To conclude, these lead that Tintins have been popular generation to generation and readers may see something new every reading hero not exhaustible.

How might herges The Blue Lotus address or relate to what Said (1997) terms ‘Orientalism’?

There might be two points of The Blue Lotus relate to what said terms ‘Orientalism’. First of all, according to Said (1997, p.88), ‘Orientalism as a Western style for dominating, restructuring, and having authority over the Orient.’ In the Blue Lotus, the Chief of Police of the Shanghai international settlement, Western person, appeared who had power there in China. Also, Said (1997) states that ‘…power moral (as with ideas about what ‘we’ do and what ‘they’ cannot do or understand as ‘we’ do). In the book, after a western person had clashed with a Chinese man, he talked to other western two men ‘What’s the world coming to? Can’t we even teach that yellow rabble to mind their manners now” It’s up to us to civilize the savages! We soon won’t have any control at all … and look what we’ve done for them, all the benefits…’ This conversation revealed their western power moral which their moral was superior to orient one.

References

Farr, Michael. (1991). Introduction. In Tintin: the complete companion (pp.8-9).

London: John Murray.

Said, E. (1977) Orientalism. In Ashcroft, B. Griffiths, G. & Tiffin, H. (Ed.), The Postcolonial Studies Reader (pp. 87-91). London: Routledge.

Week 3 - The Wizard Of Earthsea

How has fantasy as a genre been defined?

Instead of repeating the 5 definitions that Nic and Kelsey have already covered, I am going to focus more on how fantasy as a genre has been defined in general and it’s presence in “The Wizard of Earthsea”. Sorry it’s taken me so long but as they say, better late then never :)

I agree with Attebery’s statement (pg.3) that the Fantasy Genre is “any narrative which include as a significant part of its make-up some violation of what the author clearly believes to be natural law.” I also believe that Fantasy is defined as a genre because when the existence of magical powers is present and put in situations, the impossible appears possible to the readers/viewers. One example is ‘The Lord of the rings’ movies where the author has created human-like trees and fictional characters that live in a magical land. The readers/viewers logically know it is unreal and unnatural but a successful author will convince the audience to believe that it is possible in our own imaginary world when watching these movies.

“The Wizard of Earthsea” is labelled as an example of High Fantasy, the main reason being that there is a map to show the world (Wk 3 PowerPoint). I believe this story is a very good example of a fantasy world as Le Guin not only creates the illusion in our minds but also maintains it as there is always something unreal and imaginary happening. Maintaining a fantasy world is very important as Fantasy “need consistency. Reader and writer are committed to maintaining the illusion for the entire course of the fiction.” Attebery (1980, p.3). “The Wizard of Earthsea” shows a lot of illusions and fantasy throughout the whole story and all is based on the created world called Earthsea (shown in map at beginning). There is also magic portrayed when Ged constructs a new boat to get off the island he is stranded on as the boat is held together by magic. There are also fictional characters such as the little Otak that Ged meets.
Apart from all these fantasy aspects, there is some realism and authenticity in the story so that the readers stay interested and don’t fall out of the illusion.


References:

Attebery, B. (1980). Locating fantasy. In The Fantasy Tradition in American Literature: From Irving to Le Guinn. Bloomington: Indiana U P, 1980.

Le Guinn, U. (1993; 1968). A Wizard of Earthsea. In The Earthsea Quartet. London: Penguin.

Week 4 - Fantasy. "Faery story"

Why does the religious right in the US condemn fantasy, according to Cockrell (2004)? On what grounds does Cockrell defend fantasy literature, using Harry Potter for exemplification?

For some Christian people they think the whole imaginary concept, espcially of imaginary friends is bad and they associate them with the devil. They also think that the fantasy world will lead to children "lying and and other deceitful behavior." another main reason why Christians feel So strongly about Harry Potter is that, the books/movies start out with him in our world. just like all of us, as an everyday person. it is not all set as an imaginary setting. Where movies like the wizard of oz and are all imaginary and not as a potential threat as they are not in their everyday lives. there is a distance between the two. Christian parents are also already on edge about what their children are exposed to. The child has an open mind and absorbs whatever comes their way. "Christians also have of witchcraft that, like angles or the voice of satan, it is out there, unseen but ready to swallow up the helpless child who can be turned toward its seductive allure, and that it actually works." parents who have seen the film, know that their is no possible way that the children arnt thinking or how cool it would be to turn dad into a toad of put a spell on their aunt and blow her up like a balloon, because; Harry Potter did it. It is a frightening thought for Christian parents. The media in our society has a great effect on what our children are watching. their are bus signs, tv adverts and magazine articles promoting it every week. the only choice parents have it to ban it in their homes so they can control what their children are absorbing. "Rowling insists that magic in harry's world is a skill to be mastered, that it is in no connection to religion or theology, or with supernatural spirits, good or bad." a great example of this is; "the christian fundamentalist assumption that the monster and miracles or the bible are literally true, in all their ferocious splendor, then the unseen world must exist. and the separation of fact from fiction that deals with that world becomes shaky. With this in mind, a feeling of vulnerability to the supernatural is not surprising. Fiction must conform to perceived fact, and when it does not, strange contortions arise." Cockrell states there are things in theoretical physics more difficult to imagine than the miracles of the bible. But this magic lacks a god or a devil at the heart of it, another dangerous idea. At the heart instead lies mystery, which many theologians of the more experimental stripe tell us is god. Harry frightens only those who want the answers to be the same every time the question is asked. In Rowling's world the answer is not the same.

Is Tolkien’s notion of the ‘faery story’ linked to fantasy genre? How closely?

Tokien's notion of the faery story is very much linked to the fantasy genre. Everything he explains is very similar to what the fantasy genre is. It just has a different name for it. The Faery stories are mostly about magical lands that are based on the supernatural world or on talking animals just like fairytales he describes. for example, he states; "The realm of fairy-story is wide and deep and high and filled with many things: all manner of beasts and birds are found there; shoreless, seas and stars uncounted; beauty that is an enchantment, and an ever -present peril; both joy and sorrow as sharp as swords. " You could also say this is what the fantasy genre is about. far fetched events that they do not try and put off as real events that could actually happen. "The knight Pigwiggen rides on a frisky earwig, and sends his love the Queen Mab, a bracelet of emmet's eyes."The faery stories have alot of elfs and fairys that feature in the stories. "The diminutive being, elf or fairy, is in England, largely a sophisticated product of literary fancy. " but these stories are also not just about witches, trolls, giants, or dragons; "it holds the seas, the sun, the moon, the sky, and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and oursleves. Mortal men, when we are enchanted." There is one differnece between these two genres. Faery stories do not make it out like the whole story was an illusion. a dream sequence like Alice in wonderland would not be considered a faery story.

References-

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.

Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No 1

Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.

SCREENING THIS WEEK

This week there will be a screening of Hayao Miyazaki's PRINCESS MONONOKE on Thursday 19th in WT 901 from 12 until 2.20 pm. It's a long film, so we will need to start immediately after 12. Attendance is mandatory.

Week -4 Faerie Stories

Hey guys well another week as come !!!

First question i am answering this week is:

How does the Fantasy genre relate to modern media such as video games?


"The books have grown into a cross - media craze, in which childrens engagement extends across novels, films, games, the internet and a range of merchandise" (pg 36)

So the Fantasy genre relates to the modern media such as video games like for an exampe Harry Potter, Lord of the Rings etc, what the fantasy genre and video games have that they can relate to each other is they way they have maps, imaginary world and so on.

"The Lord of the Rings gave rise to one of the most popular of modern game - genres, some stories are ideally adapted to serve as the basis of games", which is like
Harry Potter it is not exactly like the book... " The game represents a marked shift. Harry's actions are quite different from the book or film" (pg 38)

So in conclusion fantasy genre builds the base of videos games, like i said above by maps etc.. so when a game is made they have that base from the fantasy media to build from... Personally I too think that the fantasy genre and video games relate together in the sense of being hand in hand as like a fantasy media when someone plays a game they can too go off into a imaginary world..


My next question for this week is as follows;..........



Is Tolkien's notion of the "faery story" linked to fantasy genre? How closely?

" A fairy story, a thing built on or about fantasy of which fantasy is the core" (pg 54)

Tolkien notion of the faery story linked to the fantasy genre is linked quite closely to fantasy as Tolkien suggests a fairy story uses a similar angle to Faerie, " in such fantasy as it is called, new form is made; Faerie Begins" and " An essential power of Farie is thus the power of making immediately effective by the will the visions of fantasy" (Pg 25)


References

Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.

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.

Week Four - Fantasy

Why does the religious right in the US condemn fantasy, according to Cockrell (2004)?

In Layman’s terms it is pretty much because every day Americans are scared by the fact that Harry and all the magical things associated with him live in their own world. Cockrell (2004, p. 25) sums this up nicely, “To begin, Harry lives in our world, making him more of a threat. Rowling has abandoned the realm of high fantasy and laid her story in contemporary England, rather than in the imaginary and medievally flavoured otherworld…”

Generally us human beings like to read Fantasy books as a means of escaping reality, but when we can’t escape that reality and it becomes part of our own world, is when it becomes a threat or even ‘dangerous’ as Cockrell suggests.

So then, the real reason that the religious rights in the US are condemning Fantasy such as Harry Potter is because they feel threatened by it. “Fantasy worlds require those worlds to be independent of our own.” Cockrell (2004, p. 25). Unlike the fact that they don’t seem to have a problem with other Fantasy’s such as ‘The Wizard of Oz’ and ‘The Lord of The Rings’, goes to show that it isn’t really fantasy which they are concerned about but merely Harry Potter as it is too close to home.

Cockrell goes onto say, however, that Christian’s do believe in ‘mysterious powers’. Just take a look at the examples of miracles which happened throughout the bible and it’s obvious to see that unnatural powers and events did take place. I think the real problem now though, is the fact that these magical powers which J.K Rowling portrays in her books, don’t line up with ‘good unnatural powers of the bible’ as witchcraft and wizardry is seen as evil in the bible. It goes against what these ‘Christians’ perceive as natural and normal and so they are scared by this ‘new’ and supposedly ‘evil’ way. “All these things, which have fragmented our culture to the delight of some and unease of others, cause a greater fear of fantasy.” Cockrell (2004, p. 26).

In reality though, just because Harry Potter is set in the natural world where unnatural events take place, it is simply only a piece of literature. For Christians, to be afraid of this whole Fantasy idea is a contradiction to their beliefs as the bible claims to “Fear not, for I am with you”, does it not?


On what grounds does Cockrell defend fantasy literature, using Harry Potter for exemplification?

Cockrell likes to defend fantasy and fair enough too as it is probably one of the greatest inventions of the literature world! Like I mentioned before it is such a magical place to escape into!

Cockrell (2004, p. 26). “One of the most antagonising responses one can give in responding to a challenge based on these beliefs is to say, ‘But they (demons, witches, etc.) aren’t real!’ They may be very real to the person challenging the material.” It is very true to say that these people opposing Fantasy are their own worst enemies. They are the ones that have the choice to believe the stories that are presented to them and they also have the choice to worry about them or not.

In a world where there is so much poverty and so much war going on continually, it is hard to believe why these ‘do-good’ Christians would even give the time of day to worrying about such insignificant problems. It was never a problem before they came along and made it one. Cockrell (2004, p. 27) uses Harry Potter for exemplification to add that “this magic is a device, not a philosophical or spiritual system of beliefs…” “It is studied like one might study Algebra.” “Rowling insists that magic in Harry’s world is a skill to be mastered, that it has no connection with religion or theology, or with supernatural spirits, good or bad.” She goes onto say that it is like science. The end results (whatever anyone takes form it) is their own doing and their own decision. It potentially could turn out bad like a science project gone wrong but at the end of the day it is simply what you make of it.


Reference List
Cockrell, A. (2004). Harry Potter and the Witch Hunters: a social context for the attacks on Harry Potter. The Journal of American Culture, Vol 29, No.

Tolkien, J.R.R. (1988; 1964). On Faerie Stories. In Tree and Leaf. London: Unwin Hyman.

Week 3 - Fantasy :)

Hey everyone, here is my entry for this week!!!. First question of my post is: How has fantasy as a genre been defined? Find at least five formative definitions in Attebery (1980)

1) " Any narrative which includes a significant part of it's make up is some violation of what the author clearly believes to be natural law - that is fantasy

2) "Perhaps the most satisfying way would be to line up a shelf of books and say, there. That is what i mean by fantasy."

3) "an overt violation of what is generally accepted as possibility."

4) "Whatever the material, extravagant or seemingly commonplace, a narrative is a fantasy if it presents the persuasive establishment and development of an impossibility".

5) Tolkien states: "founded upon the hard recognition that things are so on the world as it appears under the sun, on a recognition of fact but not a slavery to it".

Just another two i found that maybe suitable!;

6) "Fantasy, though needs consistency, reader and writer are committed to maintaining the illusion for the entire course of fiction."

7) "Fantasy is a game of sort, and it demands that one play whole - heartedly, accepting for the moment all rules and turns of the game"

So Attebery defines fantasy to how i see fantasy. I personally think that a fantasy is a place that you can go to and it allows your imagination to run wild!, you can imagine anything from low fantasy like having a parallel world and to high fantasy a world that's completed with maps etc. Fantasy is always around us from when we are young to old!, it is introduced to us right from the get go. Everyone can enjoy fantasy's, so it is easy to say that fantasy is a popular genre!.

My next question I have chosen is; What are some archetypes ( eg. common character types) of fantasy fiction?

Tax (2002) States that "there are specific types of women in the fantasy genre; absent beloved, evil witch, damsel in distress and girl warrior"

Things like wizards, goblins, dragons, wise old man, superhero and so on.......

My personal opinion on character types are as follows: heroic males, witches, princesses, princes, the bad guy, superhero's etc, these archetypes are what makes a fantasy what it is, without these archetypes there wouldn't be fantasy it would be like book with the normal human being's with the guy and the girl whereas superhero's are what make it interesting and what allows the reader to escape that's why it's called a fantasy.

REFERENCE PAGE

Attebery, B. (1980). Locating fantasy. In The Fantasy Tradition in American Literature: From Irving to Le Guinn. Bloomington: Indiana U P, 1980.

Tax, M. (Jan 28, 2002). In the Year of Harry Potter, Enter the Dragon. In the Nation

week 3 - Fantasy

1. What are some archetypes (e.g. common character types) of fantasy fiction?

There are various ways a story can proclaim its fantastic nature. It can involve beings who who existence we know to be impossible. Like dragons, flying animals or shape shifting men. it can revolve around rings such as "the lord of the rings" which had hobbits and other unknown creatures. It can revolve around another world in somebody wardrobe like "Narnia" Which had a magical land with horse headed men and talking animals. It can revolve around magic as it has in "Harry Potter" with them going to magic school in a castle and being able to jump through walls in order to catch the 9 and 3 quarter train. A tree can have arms and legs and be able to grab passes-by. Flowers can sing and dance like in the much love Disney movies. All these things violate the assumptions we have about matter and life. These stories go on as if this really is a world, they do not try and convince the reader that this could happen, it is happening in their story and in their story alone. These types of characters and the fantasy genre is found in many children's books and movies today. They are very successful and most of the novels have been made into films. Such as the lord of the rings, Narnia, Harry Potter, Alice in Wonderland, True Blood and Twilight. This can be seen in "Warriors in the mist" "Of these some say the greatest voyager, was the man called Sparrowhawk who in his day became both dragonlord and Archmage. These characters are so much fun to read or watch or even to create in your own imagination, as you are creating your own world, and anything is possible. "Fantasy is a game of sorts, and it demands that one play whole-heartedly, accepting for the moment, all rules and turns of the game. The reward for this extra payment is an occasional sense of unexpected beauty and strangeness, a quality which C.N. Manlove, among others call "wonder"."

2. How is Sci Fiction different from Fantasy, according to Le Guinn?

In the technological sense Science fiction and fantasy are completely different in the way that they are structured and put together; but to the common eye, such as myself it is hard to determine how they are a different genre and why. Le Guinn sums up the differences perfectly.

With fiction there are many different types which for the naked eye is all the same, the same with sci fi and fantasy. In order to understand the differences it is important to understand the different types of works such as, "Fiction is plausibility, which it creates for itself, most notably through accurate, honest observation of the world it creates. This created world is of course more or less directly related to and dependent on the actual, factual world outside the book."

Fiction is what didn't happen, but realistic fiction pretends that it did. Realism uses actuality and history, inserting invented characters in amongst real people and places which like science fiction is a breach or realism. With Science Fiction often the authors invent the past or pretends that the future is the present or the past and then tells us what has happened in it. "Why? Because "the future" is a blank page, and the imagination can write anything it likes on it" With the new TV shows on channel 2 "Fringe" and "V" they use this example perfectly. Both are set in the future but are pretending it is the present. Because of this, the writers are able to explore and create things that the viewer has never thought possible. This has also been used in the film "Children of men" when it is set in 2045 and the world isn't able to convince children anymore. which just goes to show that it is not only been used in novels but in other medias as well. "In general, science fiction proceeds just as realistic fiction does, meeting conventional expectations of how people generally act, and either avoiding events that will strike the reader as improbable, or plausibly explaining them. Realism and science fiction both employ plausibility to win the reader's consent to the fiction." When writing fiction or science fiction we generally don't make up myths this falls under fantasy. As Le Guinn states; Fantasy is far more direct in its fictionality than either realism or science fiction. Its contract with the reader is a different one. There is no agreement to pretend that its story happened, might have happened, or might ever happen. Its invention is radical. With the informed consent of the reader, fantasy deliberately violates plausibility in the sense of congruence with the world outside the story. With fantasy the characters may not be human or may relate to inhuman beings in a different way, which you would not find in science fiction. With fantasy genres you have to go into it with an open mind as some of the things that you come across are so extreme you can only begin to question it. whereas science fiction generally, it is believable with some true facts or things that could happen as apposed to a talking goat. Guinn sums it up perfectly; Fantasy is shamelessly fictive. Some people feel it's wicked to invent something God didn't think of. Others see it as a waste of time. And to others, fantasy is an exercise of what may be our most divine and certainly is our most human capacity, the imagination.

References - U, K. Lee Guin. Plausibility Revisted. Wha Hoppen and What Didn't. Retrieved 11th august from http://www.ursulakleguin.com/PlausibilityRevisited.html

Le Guinn, U. (1993; 1968). A

Wizard of Earthsea. In The

Earthsea Quartet (pp.13-167).

London: Penguin.

Attebery, B. (1980). Locating

fantasy. In The Fantasy

Tradition in American

Literature: From Irving to Le

Guinn (pp.2-9). Bloomington:

Indiana U P, 1980.