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Representations of Girls in Japanese Magical Girl TV Animation Programmes from 1966 to 2003 and Japanese Female Audiences' Understanding of Them

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Representations of Girls in Japanese Magical Girl TV Animation Programmes from 1966 to 2003 and Japanese Female Audiences' Understanding of Them University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/51536 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Representations of Girls in Japanese Magical Girl TV Animation Programmes from 1966 to 2003 and Japanese Female Audiences' Understanding of Them by Akiko Sugawa SHIMADA A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Humanities University of Warwick, Department of Film and Television Studies September 2011 o Table of Contents List of Illustrations ....................................................................................................... .3 Acknowledgements ...................................................................................................... 6 Declaration .................................................................................................................... 7 Abstract ......................................................................................................................... 8 Introduction ................................................................................................................... 9 Chapter One: Review of Literature and Methodology Section 1: Young Women and Media ................................................................... 21 Section 2: Animation Studies............................................................................... .47 Section 3: Methodology........................................................................................ 67 Chapter Two: Cultural Context Section 1: Japanese Girl (Shojo) Culture ............................................................ 90 Section 2: Japanese Feminism from the 1960s to the 2000s ........................... 102 Section 3: Witches and Witchcraft .................................................................... 109 Chapter Three: Japanese Maho Shojo (Magical Girl) TV Anime from 1966 to 2003 Section 1: Maho Shojo or Magical Girl Anime -Defmition, History and Traits ...................................................... 125 Section 2: Sally the Witch (1966-68) -A Legitimate Elementary School Girl Witch Princess .............. 128 Section 3: The Secrets ofAkko-chan (1969-70) -A Non-hereditary Witch Girl and the Transformation ............... 143 Section 4: Meg the Little Witch (1974-75) -Changing Notions of Girls' Sexuality ........................................ 155 Section 5: Magical Angel Creamy Mami (1983-84) -Emerging KawaU Girls' Culture and Transformation................ 164 Section 6: The Sailor Moon series (1992 -2000) - Fighting Girls in a Team and Female Solidarity ....................... 180 Section 7: The Magical Doremi series (1999-2003) -The Recurrence of 'Mothering' and Reconciliation .................. 195 Chapter Four: Japanese Girls and Women Reading Magical Girl TV Anime: Audience Research Section 1: Women Growing Up in the Late 1960s and the Early 1970s (the Sh8wa 40s)-The Sally and Akko Generation..................... 208 Section 2: Women Growing Up in the Late 1970s and the Early 1980s (the Sh8wa 50s)-The Meg and Mami Generation ..................... 229 Section 3: Girls Born in 1997 or 1998 -The Sailor Moon and Doremi Generation .............................250 Conclusion .............................................................................................................. 276 Appendix A: Pilot Study Questionnaire ................................................................ 284 Appendix B: Transcript Conventions .................................................................... 288 Appendix C: Data (confidential} ........................................................................... 289 Appendix D: Interview Questions ......................................................................... 290 Bibliography .......................................................................................................... 291 Teleography and Filmography ............................................................................... 316 2 List of Illustrations (Illustrations of Toei Animation Co. will be removed upon the company's request when this thesis is filed. I apologise to readers for the inconvenience.) Chapter Two 1. Junichi Nakahara's illustrated instruction in Shojo no Torno (Jitsugy6nonihonsha, 2009: 45 and 47). 2. Katsuji Matsumoto's illustration for The Little Mermaid (Jitsugyononihonsha, 2009: 38). 3. Hello Kitty, Patty and Jimmy and Little Twin Stars, popular characters ofSanrio's 'fancy goods' (Sanrio Co.). 4. The Queen/witch in Snow White and the Seven Dwarfs (Disney). 5. The Wicked Witch of the West in The Wizard ofOz (MGM). 6. The Good Witch of the North in The Wizard ofOz (MGM). 7. Three fairies in Sleeping Beauty (Disney). 8. Yamauba (Sekien Toriyama, Sekien Toriyarna s The Illustrated Book ~r Night Parade of One Hundred Demons, 2005: 15), Yukionna and Ubume (Natsuhiko Kyogoku, An Illustrated Book on Monsters, 2000). Chapter Three Section 2: Sally the Witch 1. Lili in Rainbow Team Robin (Toei Animation Co.). 2. Sally and Kabu in Sally the Witch (Toei Animation Co.). 3. Sally's residence in Sally the Witch (Toei Animation Co.). 4. Yoshiko's residence in Sally the Witch (Toei Animation Co.). 5. The clinic of Sumire's father in Sally the Witch (Toei Animation Co.). 6. The naughty mouse in the opening credit of Sally the Witch (Toei Animation Co.). 7. Sumire (left), Sally (centre) and Yoshiko (left) in Sally the Witch (Toei Animation Co.). 8. Pony in Sally the Witch (Toei Animation Co.). 9. Pony in Sally the Witch (Toei Animation Co.). 10. Sally in the rain in Sally the Witch (Toei Animation Co.). 11. A Cinderella-like carriage in Sally the Witch (Toei Animation Co.). Section 3: The Secrets ofAkko-chan 3 1. Akko's house in The Secrets ofAkko-chan (Fujio Pro and Toei Animation Co.). 2. Moko's Japanese-style room in The Secrets ofAkko-chan (fujio Pro and Toci Animation Co.). 3. Akko (right) and Moko (left) in The Secrets ofAkko-chan (Fujio Pro and Toei Animation Co.). 4. Shippona, a cat, looking at the mirror in the opening credit of The Secrets of Akko-chan (Fujio Pro and Toei Animation Co.). Section 4: Meg the Little Witch 1. A model sheet of Meg in Meg the Little Witch (Toei Animation Co.). 2. Non and Meg in Meg the Little Witch (Toei Animation Co.). 3. Meg who activates her magical power in Meg the Little Witch (Toei Animation Co.). 4. Non who activates her magical power in Meg the Little Witch (Toei Animation Co.). 5. Meg, Apo and Rabi in Meg the Little Witch (Toei Animation Co.). 6. Non in a bikini in Meg the Little Witch (Toei Animation Co.). Section 5: Magical Angel Creamy Mami 1. Momoe Yamaguchi, the jacket of her single, Ai no Arashi (1979, CBS Sony). 2. Seiko Matsuda, the jacket of her single, Rock 'n Rouge (1984, CBS Sony). 3. Tetsuo and Natsumi Morisawa at the dining room in Magical Angel Creamy Mami (Studio Pierrot). 4. Morisawa's house with their crepe vehicle in Magical Angel Creamy Mami (Studio Pierrot). 5. Yi! Morisawa in Magical Angel Creamy Mami (Studio Pierrot). 6. Creamy Mami, transformed Yu, in Magical Angel Creamy Mami (Studio Pierrot). 7. Toshio Otomo, Yu's boyfriend, in Magical Angel Creamy Mami (Studio Pierrot). 8. Midori Kisaragi, Toshio's classmate, in Magical Angel Creamy Mami (Studio Pierrot). 9. Yi! in a mirror maze in Magical Angel Creamy Mami (Studio Pierrot). 10. Pseudo-Mami in Magical Angel Creamy Mami (Studio Pierrot). 11. Mami (front) and pseudo-Mami in Magical Angel Creamy Mami (Studio Pierrot). Section 6: The Sailor Moon series 1. Makoto Kino in Sailor Moon (Toei Animation Co.). 2. Makoto's earring in Sailor Moon (Toei Animation Co.). 4 3. Makoto's lunch box in Sailor Moon (Toei Animation Co.). 4. Usagi's fmgernails in the magical transformation in Sailor Moon R (Toei Animation Co.). 5. Usagi in the magical transformation in Sailor Moon R (Toei Animation Co.). 6. Usagi in the magical transformation in Sailor Moon R (Toei Animation Co.). Section 7: The Magical Doremi series 1. Doremi and Momoko in More! Magical Doremi (Toei Animation Co.). 2. Doremi and her teammates before the magical transformation in More! Magical Doremi (Toei Animation Co.). 3. Doremi and her teammates after the magical transformation in More! Magical Doremi (Toei Animation Co.). 4. Doremi's fingernails in the magical transformation in More! Magical Doremi (Toei Animation Co.). 5. Doremi in the magical transformation in More! Magical Doremi (Toci Animation Co.). 6. Doremi and her teammates make the 'Magical Stage' in More! Magical Doremi (Toei Animation Co.). Chapter Four Section 1: Women Growing Up in the Late 1960s and the Early 1970s (the Sh6wa 40s) -The Sally and Akko Generation I. Polon (left) and Kabu (right) in Sally the Witch (Toei Animation Co.). 2. Yoshiko's family in Sally the Witch (Toei Animation Co.). Section 3: Girls Born in 1997 or 1998---The Sailor Moon and Doremi Generation 1. Chiharu in Momoko's pdtissier uniform ©Miwako Mori. 2. Momoko (front left), Doremi (centre), Onpu (front right), Hazuki (back left) and Aiko (back right) in More! Magical Doremi, (Toei Animation Co.). 5 Acknowledgements First of all, I would like to thank the examiners who generously agreed to examine this thesis. I am also
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