「アニメの国家横断的な文化生産」『ポップカルチャーからみた日本』石毛弓編集。大手前大学比較文化研究叢書 (東京: 水声社, 2025)
「日本のテレビアニメ」と呼ばれるメディアは、様々な表現パターンや慣習を持っている。これらの繰り返された慣習によって、画像だけで「これはアニメだ」と認識させることができる。国内外の視聴者には、「アニメ」の画像が「日本からのもの」であると認識されている。しかし、実際のアニメ制作は、多くの海外の下請けや国内のスタジオで働く外国人スタッフを含めて行われている。つまり、日本国内外でアニメの慣習は共有されており、アニメは作られているのである。したがって、アニメは国家文化生産物ではなく、むしろ国境を越えた文化生産物と言えるだろう。このような「トランスナショナルな観点」のフレームワークを用いて、現代の大人気ジャンルである「異世界アニメ」を分析し、アニメにおいて「日本文化」がどのように国境を越えた可能性を持つのかを探求してみる。
「学会賞受賞講演報告：日本アニメーション学会第26 回学会賞記念スピーチ：アニメとパフォーマンス」Japanese Journal of Animation Studies 『アニメーション研究』第25 巻第1 号 2024:23-29
本講演では、『Anime’s Identity: Performativity and Form beyond Japan』が2023年度日本アニメーション学会賞を受賞したことへの感謝を述べるとともに、長年にわたり研究発表と交流の場を提供してくださった日本アニメーション学会の皆様への謝意を表する。あわせて、本書の概要を紹介し、アニメのグローバルな広がり、日本との関係性、「アニメらしさ」を形成する表現慣習、そして国境を越えた制作ネットワークを検討することで、文化生産を国家の枠組みを超えて捉えるための新たな視座を提示する。
https://www.japantimes.co.jp/culture/2025/01/11/tv-streaming/isekai-anime-globalization
An article for the Japan Times about how the isekai anime genre–where characters from Japan are transported into foreign worlds–can be read as an allegory for the structure of the contemporary anime industry.
When attention is paid to the ways characters perform and are performed in anime narratives, it becomes apparent that there are certain regularly utilized approaches to the character acting widespread in anime’s animation. Two of the most prominent modes of performance have been called embodied acting and figurative acting. Each uses distinct techniques to act out a specific character’s personality and, in the process, imply different notions of selfhood. This chapter examines the specific utilization of embodied and figurative acting in Yūri!!! on Ice and how these interrelated modes of performance dovetail with the narrative. Through its balancing of embodied and figurative modes of performance, the anime moves between an individualized self whose interior is expressed externally and an open acknowledgment of the interrelation of external others in the performance of self and gender.
This chapter details the pedagogical background and class structure of the 300-level class “Media and the Nation,” which interrogates the concept of the nation through the examination of different media in the context of modern Japan. It also provides an overview of another class that developed out of it, “Media and Globalization,” which focuses on one media (anime) and how it is riddled with transnational dynamics, even if it is closely associated with Japan. These classes were designed to give students some tools to think about the national and how it is inextricable from transnational interconnections and global contexts. The aim was to explore how the national frame operates, specific examples of where it manifests, the fault lines it can reveal, its intersections with different patterns of transnationality and globalization, how these all shift over time, and have enduring relevance to students’ daily lives.
Translated from the keynote speech of the 1st Animation Comics Games (ACG) Research Association Conference in Taiwan. This talk begins with examining a common method of analysis of anime which focuses on an anime as the commentary of the director about Japanese society. It explores how this method “acts” as it frames the understanding of where the creative locus of anime is located. By attending to the performance of anime as a media-form, with the enactment of animation as central to its production, a different conception of anime, who makes it, and where it comes from, is brought into view. Indeed, many of anime’s animators, colorists, and background artists are located outside of Japan—something which is not just a recent development, but reaches back decades to the very early days of TV anime. Taking account of their contributions to the performances of anime’s animation enables us to rethink cultural production under globalization. To sustain a shift in the way anime is conceptualized, the second portion of this talk explores the dynamics of such performances of anime to enable lasting recognition of the importance of the aesthetics of animation. The operations of anime’s character acting are analyzed through the examination of two distinct but interrelated modes of performance. The first, embodied performance builds characters through their individualized movement, similar to Method Acting. The second, figurative performance, constructs characters through combinations of reiterated codified expressions. Exploring such aesthetics of animation provides insights not only into anime but also the implications of how these modes of performance operate in our everyday lives.
If animation allows us to envision a world of active objects through animating their movement, then surely how the objects are made to move through the animation changes how they are constituted as actors. In other words, how bodies move in animation, human and object alike, also entails certain conceptions of ” self ” as it is constituted through the dynamics of its animation. This study aims to (re) consider Donald Crafton’s conceptualization of animation performance forms (embodied and figurative performance), specifically in relation to Japanese anime. In embodied acting, the expression of character is produced through distinctive movements, where characters are constituted as individuals, each with their own discrete inside and outside. Figurative acting, on the other hand, utilizes various gestures and codified expressions. Due to this reliance on codified expressions, figurative performances build from previous ones, replaying and reiterating them in different contexts. Each of these forms enacts a different conception of selfhood: embodied acting performing the modern conception of individualism bound to the singular body on the object which performs the movement; figurative acting performing a type of “particularity” entailing a different conception of the strict internal/external borders of ” individuality, ” where the self is a composite configured through the citation of codes. Figurative performance thus facilitates an aesthetic well attuned to the contemporary performance of self under the conditions of neoliberalism, selecting from a vast array of options, jerkily moved from one product and expression to another.
Original Japanese version published in Animēshon Kenkyū, 19, no. 1 (2017): 3–15, English version.
Different forms of selfhood enacted in the TV and filmic endings of the anime Evangelion can be revealed by building on Donald Crafton’s typology of performance of/in animation of “embodied acting” and “figurative acting.” Embodied acting is “introverted,” and tends towards the production of modernistic, anthropomorphic individuals that appear to provide a sense of depth in their enactment of emotion through their individualized movement. Figurative acting, which repeats similar codes in varying combinations for different characters, is “extroverted,” as the codes appear shared between various characters, forcing a recognition of the surface location of the code for that emotion, on not in the character. As such, the interrelation and tension between these forms of performing selfhood play out in Evangelion: objects of human creation, the Eva-units, boldly display their agency as they exhibit shocking performances of embodied acting, the Eva-units appearing with the same autonomy as human individuals; on the other hand, humans are broken into parts, their psyche examined in pieces as they delve into their minds to find only more pieces of other characters, an interrogation of the constitutive codes of figurative acting—the examination of objecthood that we see in the TV ending. However, the filmic ending departs from the optimistic embrace of objecthood and presents the harrowing vision of ecological catastrophe as it explores different individualisms, taking them to their world-ending climax.
Original English version published in Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion. Ed. José Andrés Santiago Iglesias and Ana Soler Baena (Stockholm: Stockholm University Press, 2021), 135-180.
In its performances in/of animation, the anime film Kaiju no Kodomo depicts a lively world where the human becomes open to the vitality and activity of the nonhuman (what Jane Bennett would call a world of “vibrant matter”), embracing an egalitarian openness to the nonhuman, presenting a method of expressing the self that goes beyond the anthropocentric individualism so coveted under neoliberalism. This is explored through a specific employment of embodied and figurative acting operations, each engaging with different tendencies of performing the self: embodied acting tending toward anthropocentric individualism with a bordered inside-outside bodily division; figurative acting tending towards a self that is enacted through interconnection with others, whose constitutive parts link across bodies. As such, figurative acting embraces what might be labeled as object-oriented dividualism—a conception of selfhood that Bennett develops where dividuals are entities whose constituent parts stem from disparate sites, affecting themselves as well as others.
Through the specific configuration of the spatiality of embodied and figurative acting, specifically in the character Ruka, the film moves through individualism toward transforming into a specific type of dividual. Not suffering from the radical lack of closure and dissolution of self that dividuality can teeter toward, Ruka maintains an internal-external border like the individual of embodied acting, but acknowledges the permeability of that boundary, still embracing the interdependency and openness to the outside employed in figurative acting. As such, the animated film can be seen as presenting, in Bruno Latour’s terms, a fictional mode of existence, exploring a world and beings with distinct dispositions, and the interdependency with the means and materials through which they are performed.
Different forms of selfhood enacted in the TV and filmic endings of the anime Evangelion can be revealed by building on Donald Crafton’s typology of performance of/in animation of “embodied acting” and “figurative acting.” Embodied acting is “introverted,” and tends towards the production of modernistic, anthropomorphic individuals that appear to provide a sense of depth in their enactment of emotion through their individualized movement. Figurative acting, which repeats similar codes in varying combinations for different characters, is “extroverted,” as the codes appear shared between various characters, forcing a recognition of the surface location of the code for that emotion, on not in the character. As such, the interrelation and tension between these forms of performing selfhood play out in Evangelion: objects of human creation, the Eva-units, boldly display their agency as they exhibit shocking performances of embodied acting, the Eva-units appearing with the same autonomy as human individuals; on the other hand, humans are broken into parts, their psyche examined in pieces as they delve into their minds to find only more pieces of other characters, an interrogation of the constitutive codes of figurative acting—the examination of objecthood that we see in the TV ending. However, the filmic ending departs from the optimistic embrace of objecthood and presents the harrowing vision of ecological catastrophe as it explores different individualisms, taking them to their world-ending climax.