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'Tamayura' Seichi Junrei

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'Tamayura' Seichi Junrei การกลายเป็นเอกลักษณ์ประจำาถิ่นของการ์ตูนญี่ปุ่น: ปฏิสัมพันธ์ข้ามพรมแดนระหว่าง การ์ตูนอะนิเมะ “ทะมะยุระ” กับ เมืองทาเคฮาระ ในจังหวัดฮิโรชิมา ประเทศญี่ปุ่น มาซายูกิ นิชิดะ* บทคัดย่อ งานวิจัยนี้มีวัตถุประสงค์เพื่อศึกษาการกลายเป็นเอกลักษณ์ ประจ�าถิ่นของตัวการ์ตูนญี่ปุ่นในด้านการมีปฏิสัมพันธ์ระหว่างการ์ตูน อะนิเมะกับสังคมญี่ปุ่นปัจจุบัน โดยยกตัวอย่างเรื่อง “ทะมะยุระ” ภาพยนตร์อะนิเมะที่ฉายเป็นตอนต่อเนื่องทางโทรทัศน์ ซึ่งมีเนื้อเรื่อง เกี่ยวกับพัฒนาการทางอารมณ์ของเด็กหญิงระดับมัธยมปลาย ที่อาศัยอยู่ในเมืองทาเคฮะระจังหวัดฮิโรชิมามา เป็นกรณีศึกษา บทความนี้ศึกษาวัตถุประสงค์และกระบวนการในการพยายามสร้าง คำ� สำ�คัญ การ์ตูนอะนิเมะของญี่ปุ่นให้กลายเป็นเอกลักษณ์ประจ�าถิ่น ผลการศึกษา การ์ตูนอะนิเมะ, การ พบว่า กระบวนการดังกล่าวเริ่มตั้งแต่ปี ค.ศ.1990 โดยมีสองลักษณะ ท่องเที่ยวไปยังสถานที่ที่ คือ การน�าอะนิเมะไปอยู่โลกแห่งความจริง และการน�าโลกแห่ง ปรากฏในสื่อประเภทต่างๆ, ความจริงไปไว้ในอะนิเมะ ผลการศึกษาสรุปได้ว่า การกลายเป็น การบริโภคคลังข้อมูล, เอกลักษณ์ประจ�าถิ่นของการ์ตูนญี่ปุ่นท�าหน้าที่เปรียบเสมือน “คลัง “ทะมะยุระ”, การกลาย ข้อมูล” ที่ท�าให้ผู้ชมสามารถก้าวข้ามพรมแดนไปมาระหว่างโลกจ�าลอง เป็นเอกลักษณ์ประจ�าถิ่น เสมือนจริงกับโลกแห่งความเป็นจริง * อ.ดร., ศูนย์ญี่ปุ่นศึกษา คณะมนุษยศาสตร์ มหาวิทยาลัยเชียงใหม่ 239 ถนนห้วยแก้้ว ตำ�บลสุเทพ อ�าเภอเมือง เชียงใหม่, อีเมล: [email protected] jsn Journal Vol.6 No.1 (Jun. 2016) 21 Locality in Japanese Animation: Transboundary Interactions between the Animation Tamayura and Takehara City in Hiroshima, Japan Masayuki Nishida* Abstract This study explores the locality of Japanese animation in the context of the interaction between contemporary Japanese society and animations. It focuses on the TV animation series Tamayura (たまゆら), which illustrates the emotional growth of high school girls in Takehara City in Hiroshima Prefecture. The study illustrates why and how Japanese animations have sought locality since the 1990s according to two aspects: the penetration of animation into the real world and the penetration of the Key words real world into animation. It concludes that locality can Animation, function as a “database” to allow the audience to have Contents tourism, transboundary interactions between the virtual and real Database worlds. consumption, Tamayura, Locality * Dr., Lecturer, Japanese Studies Center, Faculty of Humanities, Chiang Mai University, 239 Huay-Kaew Rd., Tumbon Su-Thep, Muang District, Chiang Mai, email: nishida.masayuki@ gmail.com 22 jsn Journal Vol.6 No.1 (Jun. 2016) การกลายเป็นเอกลักษณ์ประจำาถิ่นของการ์ตูนญี่ปุ่น: ปฏิสัมพันธ์ข้ามพรมแดนระหว่างการ์ตูนอะนิเมะ “ทะมะยุระ” กับ เมืองทาเคฮาระ ในจังหวัดฮิโรชิมา ประเทศญี่ปุ่น 1. Introduction Japanese products, as well as the emotional growth of high school girls in Japanese animations and TV dramas, have the heart-warming community of Takehara been characterized as “culturally odorless”, City in Hiroshima Prefecture (see Figure for not conveying cultural characteristics 1). This charming old city is reproduced in or locality (Napier 2005: 24-25; Iwabu- detail in the animation. The citizens of chi 2002).1 However, over the last two Takehara have positively received Tamayura decades, Japanese animations have been and now employ images from it as a gradually featuring a connection with a set symbol of their city and as a cultural of local characteristics to represent a certain resource for local development. local place, or “locality”. Locality is a core factor in the interaction between the worlds of animation and reality. It is also utilized as a cultural resource to instill animations with a “cultural odor” and to create a transboundary for interaction between the two worlds, broadening the space to form a new imaginary community centering on the animation. To examine why Japanese ani- mations have sought locality since the 1990s, and how changes in animation have transformed the interrelationship between reality and the animation world by using Figure 1 Takehara City as depicted in locality, this study uses the TV animation Tamayura. series Tamayura (created by Junichi Sato in Source: TYA/Tamayura Production 2010),2 which has a close connection with its Committee (2013) locality in reality. This animation illustrates 1 Susan J. Napier (2005: 24-25) notes that Japanese commentators discuss the weak national identity in Japanese animation by using the term mukokusekisei (無国籍性), or “culturally odorless”. For example, Iwabuchi (2002) uses mukokusekisei to explain that Japanese products including animations do not evoke images of Japan or ideas of the Japanese lifestyle. 2 Animation director Junichi Sato (1960-) has worked on many famous animations, including Sailor Moon, Sgt. Frog (Keroro Gunsou in Japanese), Kaleido Star and Aria. jsn Journal Vol.6 No.1 (Jun. 2016) 23 มาซายูกิ นิชิดะ This study focuses on locality from (聖地巡礼, literally “pilgrimage”), that is, two aspects: the penetration of the real visiting the locations featured in animations world into animation, and the penetration or TV dramas. Animations have become of the world of the animation into the real cultural resources for the local governments world. First, the penetration of reality can of the locations they feature. Local govern- be seen in the development of methods ments also link with animations to create to show the landscapes or local symbols new channels to the imaginary world in of the real world as the background of the order to draw the attention of animation animation. Before the 1990s, the setting of fan tourists and businesses. animations was thought to be an imaginary This study illustrates why Japanese location, and both the creators and the animations have started to feature audience generally did not pay attention geographic locations and how locality is to location. However, locality is now used utilized to communicate between the in story making and marketed to animation animation world and reality for various fans, much like film locations. Furthermore, stakeholders. The locality in animation can through their original magic-realistic be a channel to the freedom to experience methods, animations have succeeded the real and imaginary world simultane- in enhancing the attractive features of a ously. location by the power of story and fantasy. Second, the penetration of 2. Emerging Creative Consumers and animation into the real world means that Connections to Locality animation fans, the animation company, Before discussing Tamayura and and the local community create channels locality, this study examines theories of the to approach the animation world in reality transboundary interrelationship between by involving the elements of the animation animation and reality in contemporary and transforming the local identity in the Japanese society. Since the 1990s, Japa- real world. The “media-mix” or “mixed nese society has faced a rapid and unstable media” advertising approach to Japanese transformation of lifestyle and mentalities animation, which sells the animation itself not only due to the economic depression or related products by using various media, and the Aum Shinrikyo Cult’s terrorism, but has widely prevailed since the 1980s in also due to the transformation of global Japan. It also propelled the phenomenon ideological environments. of “contents tourism”, or Seichi Junrei 24 jsn Journal Vol.6 No.1 (Jun. 2016) การกลายเป็นเอกลักษณ์ประจำาถิ่นของการ์ตูนญี่ปุ่น: ปฏิสัมพันธ์ข้ามพรมแดนระหว่างการ์ตูนอะนิเมะ “ทะมะยุระ” กับ เมืองทาเคฮาระ ในจังหวัดฮิโรชิมา ประเทศญี่ปุ่น Many Japanese scholars point out Azuma (2007) proposes the concept the transformation of animation consum- of “database consumption”, which means ers’ perception of the relationship be- when people consume many “small narra- tween the real and imaginary worlds during tives”, they actually consume a combina- the 1970s to 1990s. Hiroki Azuma (2001) tion of various elements from the database, analyses Japanese behaviors of consuming namely the worldview (世界観 sekaikan). Otaku culture such as animations, games or Thus, the audience does not simply con- light novels since 1995 as behavior seeking sume the stories and characters when to substitute “small narratives” for the they are watching animations or reading collapse of the “grand narratives” of the light novels, but also accesses the data- 1970s. In his book, Otaku: Japan’s Data- base behind the characters. Consequently, base Animals, Azuma argues that in the characters can retain their identities even 1970s, modern industrial societies still had if they appear in derivative works such as “grand narratives” or “dominant thoughts” novels or cosplays. Azuma’s “database that should be shared by all members in consumption” also leads to the death a society, namely global hegemonic of the author, who had the dominant ideologies or value systems such as power over the readers or consumers. The capitalism, socialism, democracy, develop- consumers gain the power to create their ment or revolution.3 After the 1970s, these own small narratives by combining elements grand narratives had declined with the col- from the database. In this situation, both lapse of mass social movements in the world. authors and consumers have equal power Instead, a post-modern society without to consume and produce works with weak dominant thoughts started to appreciate discrimination between the original and the self-determination of individuals and derivative works. the diversity of values. Therefore, since Interestingly, consumers are now 1995, people have no longer been seeking assuming the role of creators to produce “grand narratives” of ideologies that can their
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