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Akko-Chan (Himitsu No Akko- Chan, 1962), Pretty Soldier Sailor Moon (Bishōjo Senshi Sērā Mūn, 1991) Y Pretty Cure (Purikyua, 2004)

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Akko-Chan (Himitsu No Akko- Chan, 1962), Pretty Soldier Sailor Moon (Bishōjo Senshi Sērā Mūn, 1991) Y Pretty Cure (Purikyua, 2004) In a Stranger Field. Studies of Art, Audiovisuals and New Technologies in Fantasy, SciFi and Horror Genres. Authors: Mario-Paul Martínez Fabre, Fran Mateu, Samanta Sempere, Kevin Díaz Alché, Claudia Torres Pastor, Manuel Ferri Gandía, Ryan Garcia, William Watson, Sylvia Lenaers Cases, Ruth Cristina Hernández Ching, Laura Agüera Santiago, César Oliveros Aya, Jasper Vrancken, Germán Piqueras Arona, Pol Vegara Meirelles, / javi moreno, Vicente Javier Pérez Valero. Editors: Mario-Paul Martínez Fabre and Fran Mateu. Cover design: Vicente Javier Pérez Valero. Book design: Vicente Javier Pérez Valero - Francisco Cuéllar Santiago Association of Development and Dissemination of the Fantastic Gender “Black Unicorn” (“Unicornio Negro”). CIF: G54802251. Massiva Research Group. International Congress of Fantastic Genre, Audiovisuals and New Technologies. [email protected] Editorial Committee Editorial Committee President: Dr. Vicente Javier Pérez Valero (Miguel Hernández University) Members of the Editorial Committee: Dr. Tatiana Sentamans Gómez (Miguel Hernández University) Dr. Vicente Barón (Polytechnic University of Valencia) Dr. Mario-Paul Martínez Fabre (Miguel Hernández University) Fran Mateu (Miguel Hernández University) Dr. María José Zanón (Miguel Hernández University) Dr. Juan F. Martínez Gómez de Albacete (Miguel Hernández University) Beatriz Higón (Polytechnic University of Valencia) Jasper Vrancken (Luca School of Arts, Belgium) Dr. Carmen García Muriana (Miguel Hernández University) Johanna Caplliure (Miguel Hernández University) Dr. Lorena Amorós Blasco (University of Murcia) Dr. Guillermo López Aliaga (Miguel Hernández University) Dr. Francisco Cuellar Santiago (Miguel Hernández University) First edition: November 2019. ISBN: 978-84-09-16300-7 Edited in Spain. The total or partial reproduction of this digital book is strictly prohibited. No part of this publication will be reproduced, stored, transmitted or used by any means or system without the prior written authorization of the editors. Crossing beyond the fields of fantasy, science–fiction and horror. Chapter 0. Mario-Paul Martínez Fabre and Fran Mateu......................................... p. 7 Chapter 1. Studies in the field of Fantasy. Witchcraft and feminism in Japanese animation: Kiki’s Delivery Service and Little Witch Academia case study. Samanta Sempere......................................................................................... p. 18 Fairy tales, legends and yōkai. The traditional Japanese society through its own fantasy literature. Kevin Díaz Alché........................ p. 48 Fantasy manga as a reading motivational tool for primary education. Claudia Torres Pastor............................................................. p. 66 Influences of the animator Ray Harryhausen in the design of fantastic creatures for videogames. Manuel Ferri Gandía................ p. 97 Fake It While You Make It: When Do Fantasy and Science Fiction Movie Trailers Become Deceptive Advertising? Ryan Garcia and William Watson............................................................ p. 122 Chapter 2. Studies in the field of SciFi. In search of the perfect woman. Sylvia Lenaers Cases...................... p. 159 Fantastic chronicle of unchained Prometheus. Ruth Cristina Hernández Ching................................................................ p. 168 Superhero representation in Netflix produced serial fiction. The case of Daredevil, Jessica Jones, Luke Cage, Iron Fist and The Punisher. Laura Agüera Santiago............................................................ p. 177 Transhumanism and bioethics in the fantastic iberoamerican motion pictures. César Oliveros Aya....................................................... p. 202 Chapter 3. Studies in the field of Horror. Horror as affective estrangement. Jasper Vrancken.......................... p. 222 Children who give you shivers in Mariana Enríquez’s short stories. Pol Vegara Meirelles..................................................................... p. 240 The Craft: riffs, adolescence and witchcraft. / javi moreno.............. p. 267 Violence and Death treated as entertainment. Reality and fiction of products created from the mass media. Germán Piqueras Arona............................................................................ p. 289 Giallo. An Aesthetic Innovation In Cinema. Vicente Javier Pérez Valero........................................................................ p. 311 Chapter 0. In a stranger field. Studies of Art, Audiovisuals and New Technologies on Fantasy, SciFi and Horror Genres Chapter 0. Studies in the field of Horror CROSSING BEYOND THE FIELDS OF FANTASY, SCIENCE–FICTION AND HORROR Mario–Paul Martínez Fabre Fran Mateu The frontiers that divide fantastic subgenres tend to be ambiguous, and we are aware of that. For example, in which genre could we classify the masterpiece The Texas Chainsaw Massacre (1974), directed by Tobe Hooper? Surely, its most appropriate field is the subgenre of horror. However, horror is closely related to emotion, and we can consume a product of the culture industry, such as literature (Maupassant, Lovecraft, Poe, Stoker), video games (Toyama, Kamiya, Kojima), or cinema (Carpenter, Argento, Polanski), that emotionally arouses us with horror, but not necessarily in the field of fantastic genre with supernatural meanings. We should remember that the slasher1 film directed by Hooper or Psycho (Hitchcock, 1960) –film based at the same time on the homonymous novel by Robert Bloch (1959)–, are both inspired by real events. In this sense, there have never been the characters of Leatherface (Fig. 1) or Norman Bates, but we shouldn’t forget Ed Gein or Sawney Beane, shocking historical figures, in which both films are inspired, whose actions produced an atrocious horror in their victims (Wilson, 2015). And yet it was something real, not something fantastic. 1 The slasher is a subgenre of horror movies where a murderer always tries to kill teenagers, especially developed with titles like Halloween (1978) directed by John Carpenter, and Friday the 13th (1980) directed by Sean S. Cunningham. 7 Chapter 0. Studies in the field of Horror Figure 1. The character of Leatherface in a frame from the horror film The Texas Chainsaw Massacre (Hooper, 1974) (Source: Bryanston Picture ©). However, we’re faced with a book where we first want to clarify the frontiers of the different fields of the fantastic genre to, in this way, cross them and deepen their cultural studies in relation to them and through the different authors who have participated in the present volume. Without serving as a precedent, and without delving too much into classic definitions of authors such as Louis Vax (1960; 1987) or Rosemary Jackson (1981), the russian formalist Tzvetan Todorov (1975) defined the fantastic genre as a particular literary genre that was located between the mysterious and the wonderful: l’étrange and le merveilleux. Obviously, the artistic and audiovisual spheres and the rise of new technologies mean that this definition must go beyond literature. Even in the context of Todorov, the fantastic genre could be transferred to other existing artistic fields, such as sculpture (Bernini, Cellini, Bourdelle) or painting (Brueghel, Memling, Blake). From our point of view, we start with a clear premise: the fantastic genre includes three subgenres, which are fantasy, science–fiction (SciFi) and horror. These subgenres, in addition, would contain other subgenres. Thus, the aforementioned slasher is a subgenre of horror, and as gore –where the explicit presence of blood stands out–, giallo – framed in the italian historical context–, the B Series, the psychological horror, or the found footage.2 Also, new technologies have allowed horror 2 Sometimes, this type of subgenres can be merged, like in the case of the filmCannibal 8 Chapter 0. Studies in the field of Horror to evolve, giving rise to subgenres such as survival horror, within digital entertainment. Thus, and sharing the definition of Noël Carroll (1990), we frame the horror as a field of expression where the feeling of fear is caused in the audience (or in the characters, as happens in Lovecraft stories), but not necessarily with supernatural or monstrous presences, unless the subgenre allows it (supernatural horror, cosmic horror, kaijū genre, etc.). We should think about films like Jaws (Spielberg, 1975) or Funny Games (Haneke, 1997): the feeling of horror is imposed on the supernatural; a fact that doesn’t happen, for example, in survival horror video games such as Resident Evil (Mikami, 1996) or Silent Hill (Toyama, 1999), along with all its sequels; in films likePredator (McTiernan, 1987) or Alien (Scott, 1979), or in the classic novel Frankenstein, or the Modern Prometheus (1818), written by Mary Shelley. However, by citing Scott’s film and Shelley’s novel, the frontier of horror begins to fade. It’s when we enter the field of science–fiction. It’s commonly accepted that Mary Shelley was one of the most representative figures of modern science–fiction in Europe. Her work has resulted in multiple direct and indirect adaptations, especially cinematographic3 and ludological4. We must also remember authors like H. G. Wells or Jules Verne, but it was the american writer and inventor Hugo Gernsback who coined the term «science–fiction» in 1926 by including it in Amazing Stories, a popular magazine edited by himself, which was dedicated to spread this fantastic subgenre (Bleiler, 1998). In this sense, science–fiction
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