Introduction
Notes Introduction 1 . See, for example, Mitsuhiro Yoshimoto’s review article “Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan J. Napier” in The Journal of Asian Studies , 61(2), 2002, pp. 727–729. 2 . Key texts relevant to these thinkers are as follows: Gilles Deleuze, Cinema I and Cinema II (London: Athlone Press, 1989); Jacques Ranciere, The Future of the Image (London and New York: Verso, 2007); Brian Massumi, Parables for the Virtual: Movement Affect, Sensation (Durham: Duke University Press, 2002); Slavoj Žižek, The Sublime Object of Ideology (London and New York: Verso, 1989); Steven Shaviro, The Cinematic Body (Minneapolis: University of Minnesota Press, 1993). 3 . This is a recurrent theme in The Anime Machine – and although Lamarre has a carefully nuanced approach to the significance of technology, he ultimately favours an engagement with the specificity of the technology as the primary starting point for an analysis of the “animetic” image: see Lamarre, 2009: xxi–xxiii. 4 . For a concise summing up of this point and a discussion of the distinction between creation and “fabrication” see Collingwood, 1938: pp. 128–131. 5 . Lamarre is strident critic of such tendencies – see The Anime Machine , p. xxviii & p. 89. 6 . “Culturalism” is used here to denote approaches to artistic products and artefacts that prioritize indigenous traditions and practices as a means to explain the artistic rationale of the content. While it is a valuable exercise in contextualization, there are limits to how it can account for creative processes themselves. 7 . Shimokawa Ōten produced Imokawa Mukuzo Genkanban no Maki (The Tale of Imokawa Mukuzo the Concierge ) which was the first animated work to be shown publicly – the images were retouched on the celluloid.
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