A Stylistic Analysis of Graphic Emoticons

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Presentation held at ED-Media2008

Business Education

A Stylistic Analysis of Graphic Emoticons:
Can they be Candidates for
a Universal Visual Language of the Future?

Junichi Azuma
University Marketing and Distribution Sciences, Kobe, Japan
Martin Ebner
Graz University of Technology, Graz, Austria

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

A Stylistic Analysis of Graphic Emoticons

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145 研究ノート Entertaining Religious Ideas in Animation through the Study of Religious Elements in Japanese Anime Saeedeh Mousavi Abstract In recent years, animation has established itself as one of the most important aspects of cultural policies in Islamic republic of Iran due to the recognition of the dominating power of this media toward young generations. The Iran’s approach is to produce religiously themed animation in order to convey Islamic and national values to the audiences, particularly since the 1979 Islamic Revolution. But this kind of products has always suffered from the lack of public appeal and as a result, the industry in Iran has come across various problems to develop further. The goal of this study is to explore for utilizing religious ideas in Japanese anime which can be practicable for the animation industry of a religiously oriented country like Iran. Thus, this study tries to explore what options the animation industry of Iran can learn from the Japanese experiences. Keywords: Animation, Manga, Anime, Religion, Japan, Iran Introduction In Japan, drawing illustrated stories as an artistic tradition goes backs to the 12th century. During the past centuries this art form has been vastly popular among different social groups. Manga and anime, which can be considered as modern day descendants of the long-lasting culture of depicting pictorial novels in Japan, primarily act as means for story-telling and entertainment. But, a more precise look at the content and usage of these media has said to reveal that they also comprise an extremely potential capacity which connote proselyte and promote religious ideas. 同志社グローバル・スタディーズ　第 4 号146 According to Richard Gardner (2008, 200), manga and anime in Japan has first played a role in distributing specific religious doctrines and thus received much attention, immediately after the 20th March 1995 poisonous gas attack on the Tokyo subway lines committed by the members of the religious group ‘Aum Shinrikyo.’ 1 Real reasons behind the Aum’s act are still a matter of investigation. Yet, some scholars started to discuss about a negative role that fictional media such as manga and anime possibly played in this incident, as the extent of the crimes committed by Aum became clear. They asserted that those kind of media might have led to a mental inability in distinguishing reality from illusion, fantasy, or simulation. The Sarin gas attack, aside from killing twelve people and causing the injury of hundreds of people, led to a nationwide concern about the issue of social problem which can be caused by any religious group that originally appears to be a marginal group. Contemporary Japan is considered as a nonreligious society. Many Japanese people do not consider themselves as members of a specific religious group. But, a mixture of various religious elements is considered to be embedded in people’s mind in a homogen ...

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