Readings by Goldberg and Napier are devoted to examining specific aspects of Japanese animation culture. Whereas Goldberg represents the analysis of a famous animated film titled “Grave of the Fireflies,” Napier examines major characteristics of Japanese anime.
Goldberg pays special attention to the investigation of children’s suffering which is taking place throughout the story. The author claims that due to the film, a set of questions about the way Japanese people should talk about their history, in particular about the period associated with the World War II. Furthermore, it is argued that the film is “critical of a blind patriotism that masks selfish impulses during the war and, afterward, Japan’s inability to confront the past” (Goldberg 40). In addition, Goldberg notices that the militaristic basis of school uniform in Japan is explored in the film by the director. It is assumed that in Japanese society, schoolchildren uniforms tend to be one of the factors contributing to denoting solidarity and identity of the group. What is more, the meaning of the fireflies is explained within the article. It is suggested that the fireflies, which disappeared from the environment can be perceived as the symbol of people’s loss as the war’s result (Goldberg 50).
Napier focuses on examining principal characteristics of Japanese anime, one of the most popular and influential modern styles of Japanese films. The author provides the investigation of four key aspects associated with anime: its development in Japan, its essence in terms of cultural heritage of Japan, in terms of global cultural identity, and Japanese cultural identity.
A set of thought-provoking ideas regarding the anime’s development is represented in Napier’s article. The author begins the paper by noticing that by the end of 20th century more than a half of Japanese studio releases tended to be animated. At the same time, though, it is noticed that the importance of the animation was not always such a distinctive, and there are certain stages of the development of anime. As well, Napier makes the review of anime in the contexts of Japan’s cultural heritage, global cultural identity, and specifically Japanese cultural identity. The author in particular emphasizes on the correlation between anime and global influences. At the same time, though, it is argued in the article that to comprehend the phenomenon of anime, it is essential to remember that in its core there is a profound cultural background of Japan. It is also claimed that there are specific aspects of modern and traditional Japanese society which have crucial impact on the anime’s development and popularity’s growth. It is aptly noted that, “this complex cultural background, sometimes heady, sometimes traumatic, is brilliantly expressed in anime’s range of modes, themes, and imagery” (Napier 28-29). All in all, the acknowledging with both articles contributes greatly to the increase of understanding of Japanese animation tradition.
Works Cited
Goldberg, Wendy. “Transcending the Victim’s History: Takahata Isao’s Grave of the Fireflies.” Mechademia 4 (2009): 39-52. Print.
Napier, Susan J. “Anime and Local/Global Identity.” Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Ed. Susan J. Napier. New York: Palgrave Macmillian, 2005. 15-34. Print.
