This document provides a summary and analysis of the Japanese animation studio Studio Ghibli and director Hayao Miyazaki's film Kiki's Delivery Service. It discusses how Ghibli films, particularly those directed by Miyazaki, feature strong, diverse female leads that offer positive representations of femininity, in contrast to some early Disney films. The document analyzes how Kiki's Delivery Service reflected changing gender roles and experiences of young women in Japan in the late 20th century. It also examines the variety of female characters in the film beyond the lead character Kiki.
This document discusses the representation of the working class in British cinema and television from the 1950s to present day. It notes that historically, the working class were marginalized on screen but this changed with "kitchen sink" films of the 1960s that depicted working class life in a gritty, realistic manner. However, it also discusses how more popular films and television shows have portrayed the working class through stereotypical tropes and icons for mass market appeal. More recently, some critics argue that some reality television programs exploit and demonize the working class for entertainment purposes, though the document also acknowledges audience theories that allow for varied interpretations.
CMNS 221: Japanese Anime Culture and Its PopularityNelson Hang
This was a term paper that I had to complete for my CMNS 221 Popular Cultural Studies class. My paper was focused on Japanese anime culture and how it became popular internationally. These factors range from a large fan base of certain niche themes and studios down to the adaptability of animation due to its "odorless" nature.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document summarizes the contributions of many influential female playwrights throughout history. It outlines some common patterns in women's playwriting, such as focusing on character transformation over plot, questioning social norms, and using collaborative or autobiographical styles. It then provides brief biographies of over 40 important playwrights from Gertrude Stein to contemporary writers. Finally, it lists some feminist theaters that have supported and produced works by women.
Here are potential responses to your questions:
1. Miller communicates Willy's outlook and emotions through his repetitive speech about the past, his confusion, and Linda's need to constantly reassure him. Willy appears disheveled and distracted.
2. The flashback shows Biff admired Willy but lost respect for him after discovering his affair. Hap seems to have embraced Willy's philosophy of success through lies and illusion.
3. Willy adopted Ben's view of the world as a jungle where only the fit survive through ruthlessly pursuing success. Willy shaped this into a philosophy that equates likeability and appearance with success in sales.
4. One could argue both that Willy deserves attention
Tough Female Characters & Femme Fatales in Film & Video GamesJoanna Robinson
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
1) Alfie (1966) starred Michael Caine as the title character, a working-class womanizer in 1960s London.
2) Caine's portrayal of Alfie came to represent the emerging working-class hero of British films in the 1960s, which gave voice to everyday working people.
3) Through his direct address to the camera and charming roguish persona, Caine drew audience sympathy for Alfie despite his amoral treatment of women, reflecting tensions in 1960s notions of masculinity and social change.
Elit 48 c class 10 post qhq quiz continuous vs contnualjordanlachance
The document provides the agenda and notes for an ELIT 48C class, including a quiz, lectures on "The American Dream" and My Antonia, and introductions of modernist poets Ezra Pound and William Carlos Williams. The lecture section defines the American Dream, traces its origins and evolution, and discusses how it is portrayed in My Antonia through the successes and failures of various characters in pursuing prosperity.
This document discusses the representation of the working class in British cinema and television from the 1950s to present day. It notes that historically, the working class were marginalized on screen but this changed with "kitchen sink" films of the 1960s that depicted working class life in a gritty, realistic manner. However, it also discusses how more popular films and television shows have portrayed the working class through stereotypical tropes and icons for mass market appeal. More recently, some critics argue that some reality television programs exploit and demonize the working class for entertainment purposes, though the document also acknowledges audience theories that allow for varied interpretations.
CMNS 221: Japanese Anime Culture and Its PopularityNelson Hang
This was a term paper that I had to complete for my CMNS 221 Popular Cultural Studies class. My paper was focused on Japanese anime culture and how it became popular internationally. These factors range from a large fan base of certain niche themes and studios down to the adaptability of animation due to its "odorless" nature.
Gender in american beauty research pro formaMadeleineRoss7
The document contains notes and potential topics for an essay on the portrayal of gender in films. It discusses several films from the 1990s and 2000s and how they portray gender roles and stereotypes. Theories from Gaye Tuchman, Laura Mulvey, and David Gauntlett on media representation of gender are summarized. Notes are provided on specific characters from American Beauty, including Angela Hayes, Carolyn Burnham, and the film's depiction of masculinity in the 1990s context. The family dynamic in the film is analyzed in relation to functionalist perspectives on the nuclear family model.
This document summarizes the contributions of many influential female playwrights throughout history. It outlines some common patterns in women's playwriting, such as focusing on character transformation over plot, questioning social norms, and using collaborative or autobiographical styles. It then provides brief biographies of over 40 important playwrights from Gertrude Stein to contemporary writers. Finally, it lists some feminist theaters that have supported and produced works by women.
Here are potential responses to your questions:
1. Miller communicates Willy's outlook and emotions through his repetitive speech about the past, his confusion, and Linda's need to constantly reassure him. Willy appears disheveled and distracted.
2. The flashback shows Biff admired Willy but lost respect for him after discovering his affair. Hap seems to have embraced Willy's philosophy of success through lies and illusion.
3. Willy adopted Ben's view of the world as a jungle where only the fit survive through ruthlessly pursuing success. Willy shaped this into a philosophy that equates likeability and appearance with success in sales.
4. One could argue both that Willy deserves attention
Tough Female Characters & Femme Fatales in Film & Video GamesJoanna Robinson
This document discusses the representation of female characters in film and video games. It notes that historically, female characters have often been portrayed through gender stereotypes as weak, emotional, and dependent on men. However, there has been a rise in strong female hero characters that blend traditionally masculine and feminine traits. As media becomes more participatory, audiences now have more opportunities to help shape representations and identities in games and virtual worlds.
1) Alfie (1966) starred Michael Caine as the title character, a working-class womanizer in 1960s London.
2) Caine's portrayal of Alfie came to represent the emerging working-class hero of British films in the 1960s, which gave voice to everyday working people.
3) Through his direct address to the camera and charming roguish persona, Caine drew audience sympathy for Alfie despite his amoral treatment of women, reflecting tensions in 1960s notions of masculinity and social change.
Elit 48 c class 10 post qhq quiz continuous vs contnualjordanlachance
The document provides the agenda and notes for an ELIT 48C class, including a quiz, lectures on "The American Dream" and My Antonia, and introductions of modernist poets Ezra Pound and William Carlos Williams. The lecture section defines the American Dream, traces its origins and evolution, and discusses how it is portrayed in My Antonia through the successes and failures of various characters in pursuing prosperity.
The document discusses the representation of Rio de Janeiro's favelas in the film City of God, noting that the film depicts the harsh realities of life in the favelas including poverty, violence, and the drug trade. It contrasts this portrayal with the typical images of Rio as a place of leisure and beauty. The location of the favelas is an important character in the film that authentically captures life in these slums.
This document provides an agenda and discussion notes for an English literature class (ELIT 48C) focusing on William Carlos Williams, Langston Hughes, and F. Scott Fitzgerald's The Great Gatsby. The agenda includes finishing discussions of works by Williams and Hughes, a lecture on the historical context of The Great Gatsby, and a discussion of the novel. It also includes discussion questions about the authors' works.
This document discusses the Disney Princess franchise and its portrayal of gender roles over time. It provides context on the commercial success of Disney and chronicles the early Disney princesses from Snow White to Mulan. The document then examines cultural criticism of Disney for enforcing gender stereotypes and unrealistic expectations of femininity. It analyzes the portrayal of passive, submissive princesses in films like Sleeping Beauty through the lenses of Simone de Beauvoir's work on gender roles and Kimberle Crenshaw's concept of intersectionality. More recent Disney films are shown to address issues of diversity and culture to some degree.
This presentation discusses feminism in Hindi cinema through an analysis of the film Queen. It summarizes the key themes of feminism and provides context on influential feminist critics like Simone de Beauvoir. The presentation then analyzes how Queen portrays women in a positive light by normalizing behaviors traditionally seen as inappropriate for women. It shows how the film passes the Bechdel test by focusing on the friendship between two women. Overall, the presentation examines how Queen promotes feminist ideals of empowerment and independence for women.
Portrait of Jason is a 1967 documentary film directed by Shirley Clarke that features Jason Holliday, a gay African American hustler and aspiring cabaret performer. He narrates his life story to the camera, describing his experiences with racism, homophobia, and living as a prostitute from Maine to Mexico in the 1960s, when homosexuality was still illegal in much of the U.S. The film captures Jason's candid reflections on using and being used by others for money and sex over the course of his life and career.
This document provides images and captions from Vanity Fair magazine's 25th anniversary issue, summarizing the history and accomplishments of some of the magazine's most iconic covers and photographs over the decades. It highlights portraits of celebrities from the 1920s like Douglas Fairbanks Jr. and Joan Crawford to more modern figures like Kate Winslet, Julianne Moore, and Kate Moss. The summaries provide context on the subjects and photographers of the legendary images.
The document summarizes key scenes from 3 movies presented at a film festival and analyzes them using communication and psychology theories. For the movie Blue Bustamante, it discusses a scene where a character is embarrassed about his job but doesn't know his son likes that character, relating it to expectancy violation theory. Another scene shows a character enjoying being a superhero despite taking the job out of necessity, relating it to cognitive dissonance. For Woman of the Ruins, it discusses a scene where a man insists a woman is his long-lost wife, relating it to attribution theory, and another scene relating to expectancy theory. For the movie Shift, it analyzes scenes relating to social penetration theory, expectancy theory, and attribution
The document provides instructions for an in-class activity on the topic of subjectivity and interiority in Jane Eyre. Students are divided into groups and must find examples from the text that describe aspects of Jane Eyre's character. They are given guidelines for acceptable examples and must have one group member present their finding to the class. The document also discusses theories of how subjectivity is formed through social forces and power structures, and how Jane Eyre resists having her subjectivity shaped by the demands of others through her narration of her inner thoughts and feelings. It explores how the novel sets up a distinction between surface and interior depth that Jane is able to decode through practices like physiognomy and phrenology. Students are assigned
The document provides character summaries for several characters in the novel Mister Pip including Mr Watts, Matilda, Dolores, Grace, and descriptions of places and groups involved in the conflict in Bougainville:
- Mr Watts is the only white man on the island who teaches the children after the teachers leave. He introduces Matilda to Great Expectations and plans to escape with her but is ultimately killed.
- Matilda is the 13-year-old narrator who witnesses the deaths of her mother and Mr Watts and accidentally escapes the island.
- Dolores hates the white man and causes destruction in the village before being killed.
- Grace was Mr Watts' depressed wife who died without description.
Cameron's Great Britain discusses David Cameron's concept of the "Big Society" and provides an interactive experience analyzing J.B. Priestley's play "An Inspector Calls". [The document examines the key themes and historical context of the play through various activities analyzing characters, plot events, and Priestley's political and social views in early 20th century Britain.]
The document discusses changing definitions of masculinity in modern Western societies. It analyzes how traditional male roles were disrupted by factors like the women's rights movement, deindustrialization, and the AIDS crisis. This has led to a "crisis of masculinity" as men are uncertain of their place. Fight Club is presented as exploring this theme through the narrator's emasculation pre-Fight Club, the cancer support group, and Project Mayhem's ultimately empty form of "male fundamentalism."
John Steinbeck's Of Mice and Men is set in 1930s California during the Great Depression. The novel follows two migrant ranch workers, George Milton and Lennie Small, as they travel together and dream of owning their own farm. However, Lennie's intellectual disabilities lead to tragedy.
This document analyzes the gender politics in Caryl Churchill's play Cloud Nine. It discusses how the play challenges notions of fixed gender identities and stereotypes. In Cloud Nine, some characters traditionally of one gender are played by actors of other genders. The play also explores how gender is a social construct used to enforce patriarchal power structures. It examines how characters in the play experience oppression and constraints due to rigid gender roles and stereotypes of the time. Overall, the play urges audiences to move beyond essentialist views of gender and adopt a more complex understanding of it as a social performance.
Here are potential responses to the discussion questions:
1. The white men actively work to discourage collective action by forcing competition between the black men through the battle royal fight. They also humiliate the men to assert dominance and undermine their dignity. Meanwhile, the black men themselves reinforce this effort through their desperation to please the whites for rewards, as seen when they scramble for the coins. The speaker's dedication to education could be seen as a form of collective action through self-improvement, though it's an individual path rather than a united front.
2. The blonde dancer serves to sexualize and objectify the black men's desires in service of the white male gaze. She's a symbol of white femininity that the black speaker identifies
The document discusses a Bengali film and song from 1961. It provides context about a fruit seller named Rahmat who comes to Kolkata from a place called A and befriends a local girl. The story is based on a short story by author C. Hindi adaptations of the story were also released in 1961 and 2017. The 1961 film featured a famous song sung by Manna Dey, though originally sung by Rahmat about his homeland B, the song has been used to dedicate to India as well. The summary identifies the need to provide more details like the names of the film, short story, adaptations and song to fully answer the question.
'Effeminate' Masculinity, Manliness and the Star ImageJoelle Chew
This document provides an overview and analysis of Leonardo DiCaprio's film career and representation of masculinity over time. It discusses how his early roles embodied conventional masculine traits of a working-class rebel or teen heartthrob. His breakout role in Titanic showcased a more sensitive masculinity compared to the villain, though still attracted significant female attention. The document examines how DiCaprio's humanitarian work through his foundation exemplifies contemporary masculinity off-screen as well. It aims to analyze how DiCaprio's roles both on and off-screen promote ideal forms of masculinity that align with societal norms.
The document discusses various negative stereotypes that are commonly portrayed of Asian and Asian Americans in Western media. These include portraying Asians and Asian characteristics as inherently comic, presenting Asian cultures as unable to assimilate, depicting Asian immigrants and businesses as predatory, and restricting Asian characters to stereotypical occupations. The document also notes positive but patronizing stereotypes, such as the "model minority" portrayal, and the invisibility of Asians in media settings where they should be present.
Student Presentation: To Kill a MockingbirdAlisa Cooper
This document summarizes the novel "To Kill a Mockingbird" by Harper Lee. It provides background on the setting of 1930s Alabama and introduces the main characters, the Finch children Scout and Jem. Their father Atticus takes on the defense of a black man falsely accused of rape, exposing the family to prejudice. Themes of racial prejudice, superstition, bravery, and femininity are explored through the children's experiences and coming of age in the segregated South. The summary concludes that the story remains highly relevant and enjoyable to readers of all backgrounds.
Building Community - Design Research w/ Naomi KwonVivek shah
This document discusses burlesque performance communities. It finds that performers seek out these communities to find acceptance for their individuality and embrace of flaws. Their relationships with family can be strained, so they find closest support within their performance "tribe". There is an opportunity to create more financial security and educational resources for burlesque artists through connecting the different performance communities and audiences.
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9Cottage9 Enterprises
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
The document discusses the representation of Rio de Janeiro's favelas in the film City of God, noting that the film depicts the harsh realities of life in the favelas including poverty, violence, and the drug trade. It contrasts this portrayal with the typical images of Rio as a place of leisure and beauty. The location of the favelas is an important character in the film that authentically captures life in these slums.
This document provides an agenda and discussion notes for an English literature class (ELIT 48C) focusing on William Carlos Williams, Langston Hughes, and F. Scott Fitzgerald's The Great Gatsby. The agenda includes finishing discussions of works by Williams and Hughes, a lecture on the historical context of The Great Gatsby, and a discussion of the novel. It also includes discussion questions about the authors' works.
This document discusses the Disney Princess franchise and its portrayal of gender roles over time. It provides context on the commercial success of Disney and chronicles the early Disney princesses from Snow White to Mulan. The document then examines cultural criticism of Disney for enforcing gender stereotypes and unrealistic expectations of femininity. It analyzes the portrayal of passive, submissive princesses in films like Sleeping Beauty through the lenses of Simone de Beauvoir's work on gender roles and Kimberle Crenshaw's concept of intersectionality. More recent Disney films are shown to address issues of diversity and culture to some degree.
This presentation discusses feminism in Hindi cinema through an analysis of the film Queen. It summarizes the key themes of feminism and provides context on influential feminist critics like Simone de Beauvoir. The presentation then analyzes how Queen portrays women in a positive light by normalizing behaviors traditionally seen as inappropriate for women. It shows how the film passes the Bechdel test by focusing on the friendship between two women. Overall, the presentation examines how Queen promotes feminist ideals of empowerment and independence for women.
Portrait of Jason is a 1967 documentary film directed by Shirley Clarke that features Jason Holliday, a gay African American hustler and aspiring cabaret performer. He narrates his life story to the camera, describing his experiences with racism, homophobia, and living as a prostitute from Maine to Mexico in the 1960s, when homosexuality was still illegal in much of the U.S. The film captures Jason's candid reflections on using and being used by others for money and sex over the course of his life and career.
This document provides images and captions from Vanity Fair magazine's 25th anniversary issue, summarizing the history and accomplishments of some of the magazine's most iconic covers and photographs over the decades. It highlights portraits of celebrities from the 1920s like Douglas Fairbanks Jr. and Joan Crawford to more modern figures like Kate Winslet, Julianne Moore, and Kate Moss. The summaries provide context on the subjects and photographers of the legendary images.
The document summarizes key scenes from 3 movies presented at a film festival and analyzes them using communication and psychology theories. For the movie Blue Bustamante, it discusses a scene where a character is embarrassed about his job but doesn't know his son likes that character, relating it to expectancy violation theory. Another scene shows a character enjoying being a superhero despite taking the job out of necessity, relating it to cognitive dissonance. For Woman of the Ruins, it discusses a scene where a man insists a woman is his long-lost wife, relating it to attribution theory, and another scene relating to expectancy theory. For the movie Shift, it analyzes scenes relating to social penetration theory, expectancy theory, and attribution
The document provides instructions for an in-class activity on the topic of subjectivity and interiority in Jane Eyre. Students are divided into groups and must find examples from the text that describe aspects of Jane Eyre's character. They are given guidelines for acceptable examples and must have one group member present their finding to the class. The document also discusses theories of how subjectivity is formed through social forces and power structures, and how Jane Eyre resists having her subjectivity shaped by the demands of others through her narration of her inner thoughts and feelings. It explores how the novel sets up a distinction between surface and interior depth that Jane is able to decode through practices like physiognomy and phrenology. Students are assigned
The document provides character summaries for several characters in the novel Mister Pip including Mr Watts, Matilda, Dolores, Grace, and descriptions of places and groups involved in the conflict in Bougainville:
- Mr Watts is the only white man on the island who teaches the children after the teachers leave. He introduces Matilda to Great Expectations and plans to escape with her but is ultimately killed.
- Matilda is the 13-year-old narrator who witnesses the deaths of her mother and Mr Watts and accidentally escapes the island.
- Dolores hates the white man and causes destruction in the village before being killed.
- Grace was Mr Watts' depressed wife who died without description.
Cameron's Great Britain discusses David Cameron's concept of the "Big Society" and provides an interactive experience analyzing J.B. Priestley's play "An Inspector Calls". [The document examines the key themes and historical context of the play through various activities analyzing characters, plot events, and Priestley's political and social views in early 20th century Britain.]
The document discusses changing definitions of masculinity in modern Western societies. It analyzes how traditional male roles were disrupted by factors like the women's rights movement, deindustrialization, and the AIDS crisis. This has led to a "crisis of masculinity" as men are uncertain of their place. Fight Club is presented as exploring this theme through the narrator's emasculation pre-Fight Club, the cancer support group, and Project Mayhem's ultimately empty form of "male fundamentalism."
John Steinbeck's Of Mice and Men is set in 1930s California during the Great Depression. The novel follows two migrant ranch workers, George Milton and Lennie Small, as they travel together and dream of owning their own farm. However, Lennie's intellectual disabilities lead to tragedy.
This document analyzes the gender politics in Caryl Churchill's play Cloud Nine. It discusses how the play challenges notions of fixed gender identities and stereotypes. In Cloud Nine, some characters traditionally of one gender are played by actors of other genders. The play also explores how gender is a social construct used to enforce patriarchal power structures. It examines how characters in the play experience oppression and constraints due to rigid gender roles and stereotypes of the time. Overall, the play urges audiences to move beyond essentialist views of gender and adopt a more complex understanding of it as a social performance.
Here are potential responses to the discussion questions:
1. The white men actively work to discourage collective action by forcing competition between the black men through the battle royal fight. They also humiliate the men to assert dominance and undermine their dignity. Meanwhile, the black men themselves reinforce this effort through their desperation to please the whites for rewards, as seen when they scramble for the coins. The speaker's dedication to education could be seen as a form of collective action through self-improvement, though it's an individual path rather than a united front.
2. The blonde dancer serves to sexualize and objectify the black men's desires in service of the white male gaze. She's a symbol of white femininity that the black speaker identifies
The document discusses a Bengali film and song from 1961. It provides context about a fruit seller named Rahmat who comes to Kolkata from a place called A and befriends a local girl. The story is based on a short story by author C. Hindi adaptations of the story were also released in 1961 and 2017. The 1961 film featured a famous song sung by Manna Dey, though originally sung by Rahmat about his homeland B, the song has been used to dedicate to India as well. The summary identifies the need to provide more details like the names of the film, short story, adaptations and song to fully answer the question.
'Effeminate' Masculinity, Manliness and the Star ImageJoelle Chew
This document provides an overview and analysis of Leonardo DiCaprio's film career and representation of masculinity over time. It discusses how his early roles embodied conventional masculine traits of a working-class rebel or teen heartthrob. His breakout role in Titanic showcased a more sensitive masculinity compared to the villain, though still attracted significant female attention. The document examines how DiCaprio's humanitarian work through his foundation exemplifies contemporary masculinity off-screen as well. It aims to analyze how DiCaprio's roles both on and off-screen promote ideal forms of masculinity that align with societal norms.
The document discusses various negative stereotypes that are commonly portrayed of Asian and Asian Americans in Western media. These include portraying Asians and Asian characteristics as inherently comic, presenting Asian cultures as unable to assimilate, depicting Asian immigrants and businesses as predatory, and restricting Asian characters to stereotypical occupations. The document also notes positive but patronizing stereotypes, such as the "model minority" portrayal, and the invisibility of Asians in media settings where they should be present.
Student Presentation: To Kill a MockingbirdAlisa Cooper
This document summarizes the novel "To Kill a Mockingbird" by Harper Lee. It provides background on the setting of 1930s Alabama and introduces the main characters, the Finch children Scout and Jem. Their father Atticus takes on the defense of a black man falsely accused of rape, exposing the family to prejudice. Themes of racial prejudice, superstition, bravery, and femininity are explored through the children's experiences and coming of age in the segregated South. The summary concludes that the story remains highly relevant and enjoyable to readers of all backgrounds.
Building Community - Design Research w/ Naomi KwonVivek shah
This document discusses burlesque performance communities. It finds that performers seek out these communities to find acceptance for their individuality and embrace of flaws. Their relationships with family can be strained, so they find closest support within their performance "tribe". There is an opportunity to create more financial security and educational resources for burlesque artists through connecting the different performance communities and audiences.
Tanjore Painting: Rich Heritage and Intricate Craftsmanship | Cottage9Cottage9 Enterprises
Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
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➒➌➎➏➑➐➋➑➐➐KALYAN MATKA | MATKA RESULT | KALYAN MATKA TIPS | SATTA MATKA | MATKA.COM | MATKA PANA JODI TODAY | BATTA SATKA | MATKA PATTI JODI NUMBER | MATKA RESULTS | MATKA CHART | MATKA JODI | SATTA COM | FULL RATE GAME | MATKA GAME | MATKA WAPKA | ALL MATKA RESULT LIVE ONLINE | MATKA RESULT | KALYAN MATKA RESULT | DPBOSS MATKA 143 | MAIN MATKA
1. Sherlock 1
Abby Sherlock
Professor Stacey Livingstone
SOCI 184
13 December 2018
Final Paper
I. Introduction
In Western Culture, the film genre of Animation, of drawn figures and landscapes
as a medium, has historically been associated with themes for children and family-
friendly fare. Contrastingly, in Eastern society, it is mass-produced and consumed as an
integral part of the cinematic industry. Nowhere is this clearer than in Japan, the
birthplace of Anime, where it’s seen as topping their “Most Selling Films of All Time,”
(Nichols) even amongst live action pictures like the blockbuster movie Titanic. (1997)
There is no name more reverent or respected in the world of animation than Studio Ghibli
and its’ founder Hayao Miyazaki. Ghibli ’s films are global mega-hits, garnering massive
box office revenue in worldwide markets, Academy Awards™, expansive merchandise
lines, and affecting overall the perception of Japan’s reputation and society in the West.
Ghibli Studios, teamed up with the most significant name in American entertainment,
Walt Disney Studios, for much of their distribution and marketing, their recent features
have walked a line of deep multiculturalism, showcasing stories and characters that are
distantly Japanese in attributes yet somehow still persistent with American sensibilities.
2. Sherlock 2
Directed by either: Hayao Miyazaki, Isao Takahata, Yoshifumi Kondo, Hiroyuki Morita,
Goro Miyazaki or Hiromasa Yonebayashi. Nausicaa of the Valley of the Wind. (1984),
Castle in the Sky. (1986), My Neighbor Totoro. (1988), Kiki’s Delivery Service. (1989),
(1991), Porco Posso. (1992), Whisper of the Heart. (1995) Princess Mononok.e (1997),
Spirited Away. (2001), The Cat Returns. (2002), Howl’s Moving Castle. (2004) Tales
from Earthsea. (2006) Ponyo. (2008), Arrietty. (2010), From Up on Poppy Hill. (2011),
The Wind Rises. (2013). Studio Ghibli.
In many of the Ghibli films and particularly in those written by director or
producer Miyazaki, his heroines are like acclaimed Disney princesses -- usually youthful
and beautiful. An assumption though of classifying them similar is deeply misguided as
Miyazaki tackles the conflicts within his movies and the opportunities he illuminates as
possibilities for women within his worlds. Since Ghibli’s inception in 1984, 18 of the 21
films have feature a female lead. (While the other three films have males as staring
heroes, the co-starring female characters are essential to the plot of their stories.) In
contrast to its western counterpart, Disney Studios, the roles and representations for what
constitutes femininity Miyazaki offers females who are broad, diverse, and substantive.
As an example, one of Ghibli’s most acclaimed films, Princess Mononoke, (1997)
3. Sherlock 3
“features leading character San appearing on the poster not in an hourglass clad dress but
with a knife in her hand and blood from a kill staining her mouth.” (Pg. 53 Gatti)
The first film of the Disney-Ghibli partnership is Kiki’s Delivery Service, (1989).
(Nichols) a fantasy set in a seaside, European-like town, starring 13-year-old Kiki, a
magical witch who sets on her journey to find independence. Impacted by changing
Japanese expectations of gender in the latter half of the 20th century, the tale of Kiki,
although fantasy, is explained by Miyazaki to be that of every young Japanese woman,
separated by her family and striving to find her identity and individualism. The multiple
female characters that make up her adventure are dynamic, unique and comment on
different roles that a woman can have in society, no matter their age, physicality, or
limitations. There exist many positive feminist critiques of Ghibli’s filmography where
the scholar dives deep with a Western lens of analysis, but to fully understand the
intentions behind these characters, an orientation of Japanese history is a must to grasp
these heroes’ complete journeys, just like Kiki’s.
II. History & Modernity of Japanese Women Roles in Society
Overarching beliefs of Orientalism and eroticism are vital when discussing the
treatment of Japanese women within media. From outside, global sources placing
ideologies concerning Asian women as “submissive, subordinate, oppressed and
passive,” or domestic sexism found within philosophy Confucianism, roles within history
changed over time for women. During Feudal Japan, (1185-1603AD) and then during the
Meiji restoration (1868-1912AD), women artists in “commoner classes” were granted
huge amounts of freedom far surpassing those of their European counterparts. The
abolition of social classes that existed in Japan until the 19th century came with it
4. Sherlock 4
Industrialization that gave women complete domination over the private and domestic
spheres of their household’s life. In these communities, sisterhood and connection among
women were important, where friendship among women and companionship of others
who empathized with them was highly respected. Within this also included 家 , i.e. the
Japanese trait/word for a family structure which now one can see Western elements of
patrilineal society in. This tradition of 家 is what makes up the part of greater society and
ones’ duty to the collective and not an individual self. This is a deep cultural difference
between Western vs. Eastern cultures in how the self is determined to exist in its
relationships with others. In the self, there is also a conflict of how to see ramifications of
their actions from others, a classic “guilt vs. shame culture.” “While in the West, people
are expected to feel guilty about certain acts, in Japan, people are expected to feel
shame.” (Pg. 306 Lachkar) Stemming from a Christian tradition where guilt is borne of
sin, other cultures where Christianity’s influence isn’t as strong show that shame is
utilized as a tactic to control societal actions.
Post-World War II Japan entered an extraordinary time of extreme internal
cultural shame, (Losing WWII) rapid economic acceleration, and rapidly changing
gender roles for women in the workforce. Many women were committed taught to uphold
cohesiveness in their homes then found themselves thrust into careers in a booming
capitalist landscape. The very heart of the house was called into question, and numerous
effects of this action, the mobilization of the female Japanese workforce has now been
cited for many effects on Japan. Lorber explains, “If the differences between women and
men begin to blur, society's "sameness taboo" goes into action.” This was felt strongly in
Japan where male masculinity faced (and continues) to face a complex definition of what
5. Sherlock 5
it constitutes. Women still consider domestic duties and parenting duties as female only
activities but also are not willing to give up their corporate jobs if they do become
married. Falling birthrates and some of the lowest marriage rates in history show the
effects to a modern Japan where the role of gender is now so complicated; it might
forever be compromised for the sake of progress.
The tale of Kiki, which was released in 1989, is of a young woman going out into
an unknown world to find her way; it is remarkably reflective of its time of production
where the urban areas of Tokyo, Kyoto, and Osaka (Pg. 45 Hsia) were seeing incredible
spikes of single/individual female households, consisting of these new Japanese
businesswomen. Similarly, in a later scene of the movie, Kiki grows further and further
upset by the lack of money she has made in her delivery service and ponders to her black
cat companion, Jiji, “How come daily living takes up a bit of money?!” Kiki’s delusion
of her former world, made up of these dreary realities, spoke to a generation of young
Japanese women who were reeling from the same conditions and questions.
Walt Disney Home Entertainment presents a Studio Ghibli film. Hayao Miyazaki. Kiki's
Delivery Service. [United States]: Burbank, CA: Distributed by Buena Vista Home
Entertainment, 2003 (Kiki with Jiji counting money.)
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III. Gender Representations Within Kiki’s Delivery Service
Walt Disney Home Entertainment presents a Studio Ghibli film. Hayao Miyazaki.
Kiki's Delivery Service. [United States]: Burbank, CA: Distributed by Buena Vista Home
Entertainment, 2003 (Kiki with Ursula showing off her painting.)
Besides the main character of Kiki and her adventure of dynamic agency,
confidence, and growth, there is also the presence of a multitude of other female
characters in the film. Unlike traditional Disney movies where motherhood is established
usually with the death of a female character, roles for women within the town where
Kiki’s is located are varied. The film is very G-Rated where sexualization of its female
inhabitants is not an issue. The setting, an European-like seaside town, is not Japanese in
its architecture or substance, but there is a layover of multiculturalism in its characters
and names. There is Osono, who acts as her landlord, boss, and also maternal figure,
Ursula, an offbeat young artist who serves as a mentor and role model, and many
supporting characters who range in appearance and age. Ageism is not seen here either,
where growing old is a sign of evil or spite, but instead of wisdom and heart. Osono is
pregnant for a majority of the film, also round-faced in her physicality but is showcased
as an extremely hard worker who is never restricted by her body type. Kiki finds herself
alone and homeless at the beginning of the movie, but she forges a new home along the
way with this lively cast of female role models and friends. Supportive female
7. Sherlock 7
relationships are not superficial but are critical to her adventure as a heroine. Kiki’s most
significant conflict is that of losing her self-confidence midway through the plot when
she, seemingly out of nowhere, loses her ability to fly and to understand her cat Jiji’s
meows. Her most significant talent and dearest companion are taken away from her as
she lost her self-confidence as a young witch and businesswoman. It is only through the
mentorship of Ursula who inspires her to find a new purpose and Osono’s care of her that
she finds her center and her true identity again. Potentially, Ursula and Osono’s identities
could be seen as conflicting (married with child vs. single no child), but the film presents
both paths each woman has taken as a reasonable and valid choice. Even their names
reflect the crossover of Western and Eastern cultures, making the setting of Kiki’s a
completely “other” with distinct elements of both.
Walt Disney Home Entertainment presents a Studio Ghibli film. Hayao Miyazaki. Kiki's
Delivery Service. [United States]: Burbank, CA: Distributed by Buena Vista Home
Entertainment, 2003 (Kiki with Osono)
Regarding male characters in the film, the most important and also nuanced for a
romantic interest is that of geeky Tombo, a young boy who loves airplanes and is in awe
of Kiki’s flying skills. Tombo is a self-assured, cow-licked, redhead with thick-rimmed
glasses who serves as a foil for Kiki’s journey of independence. Whereas she is unsure in
8. Sherlock 8
her identify and her strengths as a youth to hero, Tombo is unabashedly proud and direct,
publicly and personally, both in his loud, kooky interests in technology and his intense
interest in becoming close to her. He is shown to have a large group of friends and is very
popular, while Kiki struggles with connecting with others and feeling isolated and lonely.
At the climax of the central plot of the movie, Tombo, in a tightly done damsel in distress
reversal trope, hangs high in the air off a runaway blimp. He is moments from falling to
his death when the efforts of the townspeople fail to save him. It is at the precise moment
that only supernatural powers could save the day, and in that moment, Kiki gains back
her powers and ultimately her identity, to save someone she has grown to care about.
Besides an example of a traditionally inverted gender rescue scenario, this moment also
brings upon Kiki’s most significant moment in her life up until then of self-realization
and acceptance of herself and her unique talents.
Even though their romantic love is shown as youthful crushes, it is also seen as
powerful. Being able to open herself up to love others in a new place and even loving
herself is seen as vanquishing the final villain that stood between winning and losing. It is
in the “relational ontology behind Miyazaki shōjo (anime genre for female) ecologies that
offers its’ viewers the possibility to envision women as subjective assemblages of
narrative practices that are otherworldly. Henceforth, such relational ontology deploys an
understanding of subjectivity as an outbound and processual creation made of many
contingent fluxes and transversal references.” (Pg. 380 Bae-Dimitriadis) In other words,
Kiki doesn’t take the feminine structure and passively go along with it; she casts a spell
and disrupts it all on her own.
9. Sherlock 9
Walt Disney Home Entertainment presents a Studio Ghibli film. Hayao Miyazaki. Kiki's
Delivery Service. [United States]: Burbank, CA: Distributed by Buena Vista Home
Entertainment, 2003 (Kiki with Tombo)
IV. Localization into the West and Disney
Kiki’s largest difference among Ghibli films and all movies for that matter is its
large lack of a villain or antagonist. There is no plotting sorceress (Kiki is a witch
herself!), (Ursula, The Little Mermaid) (1989), a power-hungry exiled relative (Scar, The
Lion King) (1994), wicked stepmother (Lady Tremaine, Cinderella),(1950) or a violent
opportunist (William Clayton, Tarzan), (1999) which is a variance for the traditional
Disney animated film. The main conflict of the movie is not external, like the examples
listed above, but from Kiki’s internal struggle. She is the protagonist and antagonist of
her own story. This multilayered and innovative treatment of a young female leading
heroine is unprecedented for stereotypically thought “children’s fare” and animation in
general. This level of complexity showcases huge amounts of respect Ghibli films give to
their audiences and even their characters. There is an understanding that themes can be
difficult and shades of gray, a world where everything isn’t binary or categorized into
black and white, made of stringent definitions of female and male. Flexibility and fluidity
aren’t just accepted in their worlds; it’s encouraged in all its heroines. Now, this
10. Sherlock 10
treatment of its respective content and characters is vital when looking at the differences
of localization of Kiki’s distribution from its home in Japan, to the massive success in the
United States. The common saying of “lost in translation,” was a fear of Disney
executives when the decision was made to officially bring a Ghibli film to the States for
the first time. Certain parts of the movie were then changed to westernize it for American
audiences and Western culture. The understanding of animation in the West was just too
distinctly different than that of the East. From The Localization of Kiki’s Delivery
Service by Alexander Roedder: “In addition to the historical bias toward animated
musicals, there is also the issue of what is now common knowledge to Americans
exposed to anime: in the United States, cartoons are mostly “for kids,” but Japanese
animation had aimed at varying demographics for half a century. U.S. cartoons for adults
certainly do exist now: i.e., The Simpsons. But these shows are aimed at adults, not at the
discrete demographics of Japanese shōnen, shōjo, and other genres. Additionally, even
now an animated film aimed at all ages (not “at families,” which in the U.S. often means
“at children”) is rare. (Pg. 261)
The main localization efforts went towards the dialogue and music, to give it that
magical Disney musical feel. In regards to the dialogue some more Japanese specific
terms were deleted but most importantly, and most story altering, is the film’s ending. A
large plot point is that Kiki’s beloved pet and witch familiar, cat Jiji, loses his previous
ability of being able to converse with Kiki when she doubly is deprived of her talent of
flight. Her constant companion and closest friend is taken away from her, and the
audience empathizes with this hard lose. In the Japanese version, Jiji, who had been
hanging out with a cat neighbor and ignoring Kiki returns, to meow and nuzzle her
11. Sherlock 11
shoulder. They are reunited to be together again even if he cannot speak with her
anymore. Miyazaki has stated in interviews this officially shows that Kiki has traveled
from youth to adult, no longer talking her to cat like an imaginative kid but instead
coming to terms with the loss of her childhood. In the English version he instead, upon
their reunion, inserts another one his classic, sarcastic quips, “Back again!” This is an
example of where localization can completely miss the mark of what its artist’s objective
was originally and lead to varying interpretations of a theme that was supposed to be
pretty simple. Japanese and American Kiki exist, but it took over 25 years until there was
a united concession on what her journey had been all about. (Note: there was a re-edit
from Disney in 2010 where the last bit of dialogue was taken away yet many other
dialogue elements were left because of contentious debates over Jiji’s ending and what it
meant.)
V. Conclusions of Ghibli Heroines
“In the universe of famed Japanese Company Studio Ghibli, little girls rule, if not
necessarily as princesses. That kind of screen equality is rare in American animation but
it never been an issue at Ghibli where girls have long reigned without the usual frou-
frou.” (Dargis) The numbers of an overwhelming major of female Ghibli’s protagonists
don’t lie. The Studios and pioneer Miyazaki himself demonstrates a commitment to
balance and dynamic gender representations of women and young girls in animation
unlike any other company in the film industry. Kiki’s story speaks to the countless young
Japanese women who left their homes and families to gain their sense of self during the
latter half of the 20th century for the very first time in their country’s history. Their
efforts to join a male-dominated corporate world might seem daunting but with the help
12. Sherlock 12
of others, a strong community, and acknowledgment of their strength, they can do it.
Miyazaki himself stated in 1989, “The talents of the witch of this film are little more than
those possessed by any and every real-life girl.” (Kikan) Kiki’s magical talents as a witch
stand side by side with many of the personal traits all young women are gifted. Not just
Japanese women but nearly all audiences alike can (and did) empathize with her journey
of finding herself, with periods of self-doubt and loss of identity, with a collection of
friends along the way that help. We don’t have to battle dragons or wage war against
evildoers, but we eventually all have to fight the villain we least often expect, an inherent
inability to fully believe in ourselves. The beauty of Kiki’s Delivery Service (1989) isn’t
just it’s a positive portrayal of women characters but ultimately that it inspires those
watching to search for their character without any societal expectations, only the limits
they put on themselves.
“Many of my movies have strong female leads -- brave, self-sufficient girls that
don't think twice about fighting for what they believe with all their heart. They'll need a
friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as
any man.” (Miyazaki, Kikan)
VI. Citations
Gatti, Tom. “Animating Principle.” New Statesman, vol. 143, no. 5209, May 2014, pp.
52–53. EBSCOhost,
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Nichols, Peter M. “At Mickey’s House, a Quiet Welcome for Distant Cousins.” New
York Times, vol. 147, no. 51055, Feb. 1998, p. 37. EBSCOhost,
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Napier, Susan J. “Confronting Master Narratives: History As Vision in Miyazaki
Hayao’s Cinema of De-Assurance.” Positions, vol. 9, no. 2, Fall 2001, p. 467.
EBSCOhost,
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Lachkar, Joan. “The Rising Power of Japanese Women: A Pop Culture Revolution.”
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EBSCOhost,
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Dargis, Manohla. “In Realm of the Tiny, Standing Up to the Big.” New York Times, vol.
161, no. 55684, 17 Feb. 2012, p. 6. EBSCOhost,
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=ehost-live.
Bae-Dimitriadis, Michelle, and Laura Trafí-Prats. “Girls’ Aesthetics of Existence I
n/With Hayao Miyazaki’s Films.” Cultural Studies/Critical Methodologies, vol.
17, no. 5, Oct. 2017, pp. 376–383. EBSCOhost,
doi:10.1177/1532708616674996.
Hsia, Hsiao-Chuan, and John H. Scanzoni. “Rethinking the Roles of Japanese Women.”
Journal of Comparative Family Studies, vol. 27, no. 2, Summer 1996, pp. 309–
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329. EBSCOhost,
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Roedder, Alexander. “The Localization of Kiki’s Delivery Service.” Mechademia, vol.
9, Jan. 2014, pp. 254–267. EBSCOhost,
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Kikan Iichiko, October 20, 1994. The Hopes and Spirit of Contemporary Japanese
Girls Reprinted in Shuppatsuten by Hayao Miyazaki; published by Tokuma
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Lorber, Judith. “Night to His Day.” Paradoxes of Gender, 1994, Yale University, pp.
Chapter 1.