Anime and Memory: Aesthetic, Cultural and Thematic by Dani Cavallaro

By Dani Cavallaro

The topic of reminiscence has performed an important function in anime all through its evolution as an artwork shape and as well known leisure. Anime's dealing with of reminiscence is multifaceted, weaving it into assorted symbolic motifs, narratives and aesthetic issues.

This learn goals to supply a close research of a variety of anime titles in which varied elements of this cultural phenomenon are articulated. It explores anime movies and sequence that exemplify the particular signatures positioned by means of specific administrators or studios at the remedy of reminiscence, whereas additionally highlighting the prominence of reminiscence in anime with regards to particular philosophical, inventive, and historic contexts.

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The main characters, Takaki Tono and Akari Shinohara, forge a deep connection in their elementary-school days and trust they will never be wrenched apart. Their hopes are dashed when both of their families relocate to remote areas of Japan separated by thousands of miles. In the film’s first part, Takaki sets out on a long train journey into the night to meet Akari again a year after their primary graduation, his longing for the reunion underscored by memories of their time together. Slightly anxious at first, Takaki is flung into a mood of intense frustration that gradually escalates into despair as inclement weather delays train connections, leaving him to wait helplessly for motion to resume amidst snow-swept desolation.

Paradoxically, the depiction of the woman’s violation by recourse to metaphorical, stylized and impressionistic images — rather than graphic realism — is precisely what renders it most disturbing. Though horrendous, Jeanne’s experience is also epiphanic. Indeed, while the rape and the subsequent awakening of the protagonist’s earthy desires eventually lead to grief, their enlightening effect cannot be overestimated. By turning against the status quo, and thus subverting the mores regulating women’s roles in medieval society, Jeanne discovers not only her quiescent libido but also her inquisitive spirit, her hitherto unsuspected self-confidence and an almost magical ability to interact spontaneously with the natural realm.

In its articulation of memory’s inextricability from the vagaries of desire, Millennium Actress also invokes the principle of wabi through its own visual style, as a contemporary 20 Anime and Memory product indebted to Japan’s traditional arts. To be more precise, the film’s emphatically painterly dimension oozes with a specifically indigenous sensitivity redolent of the aesthetic trend associated with the woodblock prints known as ukiyo-e. In one scene, Millennium Actress offers an explicit reference to this art form by means of a frame overtly based on a famous painting by Katsushika Hokusai, Beneath the Wave off Kanagawa (c.

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