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Japanese AnimationEast Asian Perspectives$
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Masao Yokota and Tze-yue G. Hu

Print publication date: 2013

Print ISBN-13: 9781617038099

Published to University Press of Mississippi: March 2014

DOI: 10.14325/mississippi/9781617038099.001.0001

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date: 15 December 2017

From Haiku and Handscroll to Tezuka

From Haiku and Handscroll to Tezuka

Refocusing Space and Camera in the Narrative of Animation

Chapter:
(p.183) From Haiku and Handscroll to Tezuka
Source:
Japanese Animation
Author(s):

Kenny K. N. Chow

Publisher:
University Press of Mississippi
DOI:10.14325/mississippi/9781617038099.003.0012

In American animation, character takes precedence over space. In contrast, there is more balance between character and space in Japanese anime. One might wonder why Western mainstream animated films tend to place greater emphasis on character whereas anime can be more space oriented. This chapter suggests that the phenomenon is related to the more holistic visual culture of the East. It shows that people of the East are accustomed to a more associative, analogical, and spatial perception, from the pictographs and ideographs in Chinese characters and Japanese kanji to the multi-perspectival Chinese paintings. To illustrate this point, the chapter looks at several cultural artifacts from different disciplines of the arts that exemplify the location-based narrative with both the comprehensive space design of the story world and the meticulous arrangement of the camera. More specifically, it examines Japanese haiku poetry, Chinese handscroll painting, and some experimental animation films by Tezuka Osamu (1928–1989).

Keywords:   character, space, anime, animated films, visual culture, East, camera, haiku, handscroll painting, Tezuka Osamu

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