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The Magical Boy As Queering Device Alexandre Girard Vermeil a Thesis Moon Prism Boys: The Magical Boy as Queering Device Alexandre Girard Vermeil A Thesis In The Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements For the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada June 2020 © Alexandre Girard Vermeil, 2020 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Alexandre Girard Vermeil Entitled: Moon Prism Boys: The Magical Boy as Queering Device and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) Complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: Chair Marc Steinberg, PhD Examiner (Internal) Beenash Jafri, PhD Examiner (External) Bryan Hikari Hartzheim, PhD Supervisor Marc Steinberg, PhD Approved by Marc Steinberg, PhD, Graduate Program Director 2020 Annie Gérin, PhD, Dean of Faculty iii ABSTRACT Moon Prism Boys: The Magical Boy as Queering Device Alexandre Girard Vermeil Through a queer lens, this thesis examines the role that the magical boy character plays in the manga Magical Boy Majorian (2007-2008), and in season 15 of the popular magical girl genre anime franchise Pretty Cure, entitled Hugtto! PreCure (2018-2019). Using queer theory and gender studies research, this thesis argues that the magical boy figure challenges problematic forms of masculinity by performing what I call ‘shōjoness,’ a particular form of feminine aesthetic mainly found in shōjo (for girls) manga, and anime. The thesis contends that henshin (transformation) sequences allow a space for gender negotiation, which disrupts a heteronormative structure through the crossing, and blending, of gender expression and form. Acting as what Sedgwick calls a queer survival object (1993), the magical boy becomes a site for queer representation, but also what I call a queering device. In other words, this thesis argues that Majorian and Hugtto serve as escapes from the burden of heteronormativity, while also holding to some extent the power to inspire change in attitudes toward queerness within, and beyond the pages of the manga, or the screen of anime. Analyzing key scenes from both works mentioned above, this thesis explores how medium specificity (manga structure, and animation techniques) renders queerness by contrasting it with more standard ways of drawing, and animating, consequently challenging normative ways of being. Informed by Scott McCloud’s theorizing of the gutter, Thomas Lamarre’s work on the interval, and Sara Ahmed’s discussion on queer orientation, Moon Prism Boys frames particular forms of interstices as spaces that have the potential to positively disturb a monolithic form of masculinity when brought into contact with queerness. iv Acknowledgments I want to start by thanking my thesis supervisor and mentor Marc Steinberg who introduced me to anime studies during my Undergraduate studies, and supported my work with kindness since then. By constantly challenging my way of thinking about animation you truly animated a spark in that brain of mine and provided a warm and welcoming space for learning. I am indebted to Thomas Lamarre whose generosity has no bounds; his workshops at McGill University taught me how to explore the vast meanings behind animation and to always go beyond what appears on the surface. A very special thank you to Mitsuhiro Yoshimito who accepted to supervise my research study at Waseda University in the summer of 2019. I am thankful for the engaging discussions on magical girls and shōjo I had with Bryan Hikari Hartzheim, Akiko Sugawa-Shimada and Deborah Shamoon. I also wish to express my gratitude to the Mechademia family who welcomed me with open arms and provided precious feedback during the 2019 conference in Minneapolis. I also give my thanks to Beenash Jafri who provided valuable advice about the queer theories explored in this thesis, and how to bring these ideas forward in a near future. Thank you to my two partners in crime Cole Armitage and the queen of quotes Victoria Berndt who not only provided valuable feedback during the making of this thesis, but also accompanied me in visiting anime-related spaces in Japan for research. I wouldn’t have been able to achieve what I have without the useful comments of my Concordia University peers Antoine Demeule who also provided well-needed memes, and Emma Bremshey who I probably made queerer in the process. Thank you to Charlotte Gagné-Dumais for commenting on my work through another perspective, one that lies outside of Film and Media studies. Thank you to Aki Jingwei and Julius Fuentes for providing assistance in translating the manga Magical Boy Majorian, your help was precious. Last but not least, thank you to my feline assistants Edouard, Augustin, Anatole and Léopold who all provided much needed purrs throughout this process. v Table of Contents List of Figures ............................................................................................................................... vi Introduction ................................................................................................................................... 1 On the Magical Girl ................................................................................................................ 1 Concepts and Approaches ....................................................................................................... 6 Chapters ................................................................................................................................ 10 Chapter 1 Boys will be Girls: Performing Shōjoness in Magical Boy Majorian ..................................... 12 Gender-B(l)ending ................................................................................................................ 13 Shōjo’s Performativity .......................................................................................................... 15 Queer Japan ........................................................................................................................... 17 Shōjo’s Surface ..................................................................................................................... 20 Forward-Drawn Futurity ....................................................................................................... 25 Boy Variable, Girl Possible .................................................................................................. 30 Conclusion: Queering Failure and Time ............................................................................... 32 Chapter 2 Boys will be Boys: Orienting and Animating the Magical Boy in Hugtto! PreCure ............. 34 The Logic of Transformation ................................................................................................ 36 Product Portals and the Magical Girl Media Mix ................................................................. 40 Queer Coded Villain ............................................................................................................. 46 No Future for a Queer Creature ............................................................................................ 50 Transforming the Girl by way of Cinematism ...................................................................... 52 Transforming the Boy through Animetism ........................................................................... 55 Conclusion: Everyone is Magical! ........................................................................................ 61 Conclusion ................................................................................................................................... 64 Queer Magic on the Horizon ................................................................................................. 66 Bibliography ................................................................................................................................ 68 Moving Image Sources ............................................................................................................... 72 vi List of Figures Figure 1.1: Comic High! logo ....................................................................................................... 14 Figure 1.2: Iori and Masaru’s first encounter ............................................................................... 21 Figure 1.3: Masaru’s and Iori’s post-transformation scenes ......................................................... 23 Figure 1.4: A painful first transformation ..................................................................................... 26 Figure 1.5: Henshin in Sailor Moon ............................................................................................. 28 Figure 1.6: The boys’ last goodbye, and the river as gutter .......................................................... 32 Figure 2.1: PreHeart during Hana's transformation ...................................................................... 41 Figure 2.2: PreHeart toy ................................................................................................................ 41 Figure 2.3: Cure Infini (Henri) ...................................................................................................... 43 Figure 2.4: Henri button ...............................................................................................................
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