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Storytelling Practices in the New Millennium a Snake and Dragon Lore Case Study

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Storytelling Practices in the New
Millennium

A Snake and Dragon Lore Case Study

MA Thesis Asian Studies (60 ECTS) History, Art and Culture of Asia Martina Ferrara s1880624

Supervisor Professor Ivo Smits

December 2017

  • 1
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Abstract

In this new millennium, the world is facing many drastic changes. Technology has revolutionized our lives and we are still trying to grasp the essence of this new age. Many traditions are fading, one of them being the practice of oral storytelling, used in pre modern societies by common folks to amuse themselves and to educate children at the same time. This essay analyzes the transition from traditional storytelling to mass communication, and its implications, through the case study of Japanese snake and dragon lore. The dragon, a well established symbol of Eastern Asian cultures, is the mythical evolution of a snake, considered to belong to the same species. The two animals are treated, however, in very different ways: the first is venerated as a kami, a god, while the second, even though object of worship too, is so feared that speaking about it is still considered a taboo. During the last century oral storytelling practice has been fading out, overpowered by the attractiveness of new medias. However, while the traditional practice is slowly dying out, storytelling itself is, I argue, just changed media. This essay will look into modern portraying of snakes and dragons, comparing tradition with new media. Through the example of Oscar winner movie Spirited Away (2001) and especially through the character of the white dragon Haku, it will be shown how anime and manga can represent a new way for the transmission and preservation of folk tales and beliefs. The director, Hayao Miyazaki, created the movie with the precise aim of educate children about Japanese values and traditions. Manga and anime can be considered a new form of storytelling, accessible simultaneously by anybody and anywhere in the world, that at the same time crystallizes a set of stories and beliefs.

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Table of Contents

  • Abstract
  • 3

  • Chapter One
  • 5

  • 5
  • Introduction

  • Chapter Two
  • 8

  • Literature Review
  • 8

  • 8
  • Typology of Snake and Dragon Studies, and the Question of yōkai

  • Chapter Three
  • 17

Beliefs and Stories Concerning Snakes
Hidden Beliefs and Taboos A Misunderstood Creature
17 17 18 20 23 25
Written Accounts on Snakes A Dragon Hidden in the Water is Useless Kami or Yōkai?

  • Chapter Four
  • 27

Old and New Storytelling
Folklore and Traditional Storytelling Practices Spirited Away
27 27 29 30 32 35
Aims of the Movie Haku, the White Dragon
Storytelling and New Media

Chapter Five
Conclusions
37 37

  • References
  • 39

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Chapter One

Introduction

According to the Oxford Dictionary, storytelling is the activity of telling or writing stories. Such practice has been part of human life since the beginning of times. However, the New Millennium is drastically changing the way in which stories are told, and especially oral storytelling practices are fading away. Through the analysis of a case study from Japan, this essay aim is to come to a better understanding of the shift from old storytelling practices to new ones, and the consequences that may derive from it. The case study chosen comes from Japanese folklore, precisely from folk beliefs regarding snakes and dragons, considered supernatural beings. To what extent and in what ways did Hayao Miyazaki’s Oscar winning anime movie Spirited Away  connect to older traditions of storytelling involving these beliefs? Which of them were taken into account for the development of Haku, a white dragon, character in Spirited Away? How were these beliefs and folk tales transmitted in the past? What kind of beliefs and folk tales were they? How are they transmitted nowadays? And in which way are they portrayed? The comparison with modern storytelling will be made through the analysis of the character of Haku in Spirited Away.

The essay is divided in three main sections. Chapter two will examine the whole body of sources used in chronological order. What has been already written on snakes and dragons as mythical creatures? What has been written on the practice of storytelling and transmission of folktales in Japan? And how has Spirited Away been interpreted since its coming out in 2001? Authors like De Visser, Opler, Mackenzie, Sasaki, Sasaki, and Fox will be used as main sources on snakes and dragons beliefs and tales. De Visser especially, is the scholar that focused more than any other on the figure of the dragon and its mythical origins, that can be traced back to China and India. His work has been studied by all the other sources mentioned, and it is therefore the most important among them. Foster’s studies will be also very important to establish the supernatural nature of these animals, and especially to define if they belong to the category of kami (gods) or yōkai (demons). It is also important to understand if their belonging to one or the other category changed with the changing of storytelling practices. Adams and Eder’s essays will provide insights on storytelling practices itself and the mutations of the relationship between people and folktales. What are the reasons and the conditions for such changes? Do Japanese people still believe in them? The role of mass media, anime and manga in pop culture is then analyzed with the help of Tetsuo’s,

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and Shamoon essays. Finally, then, Spirited Away themes, issues and aims are the subjects, from different perspectives (religious, environmental etc…), of Lim and Boyd’s articles. This chapter aim is to show the most possible complete body of literature available on each topic, and how they connect to each other.

The third chapter will deal with stories, folktales and beliefs about snakes and dragons. Snakes are attributed with many powers, usually water related. Snakes and dragon are considered as part of the same species, according to the most common beliefs, and they are represented visually in the same way. This chapter purpose is to report, organize and interpret the most relevant snake and dragon stories and beliefs, in the light of Foster’s definitions regarding kami and yōkai. In order to better grasp the essence of these animals and their stories, two tales have been selected as main examples.

First is the Dōjōji legend, also known as the Legend of Madam White Snake, and second Urashima

Taro. They both are very famous tales, known all over Japan and with plenty of existing local variations. The first one, of Chinese origins, is the perfect example of a negative snake character while the second one is set up in the legendary ryūgūjō, an underwater palace belonging to the Dragon King. Furthermore, to challenge Foster’s definitions, I will make use of Ueda Akinari’s writings and interpretations regarding the kami realm. As author of Tales of Rain and Moonlight, a famous collection of spooky tales inspired by already existing stories (the tale A Serpent’s Lust is deliberately inspired by the Dōjōji legend). Akinari represents a very relevant voice focused on supernatural issues and kami worship. This chapter is a necessary stepping stone towards the understanding of how traditional storytelling have depicted snakes and dragons, both through oral traditions and written sources from Japanese classics.

The fourth chapter will be dedicated to the transition from traditional storytelling practices to the modern one, among which can be found anime and manga. The first part of the chapter will explain the historical reasons and social changes that led to the decaying of traditional storytelling. Phenomenons like that of modernization had a great impact on Japanese society, and changed radically people’s way of living and daily habits, where the conditions for oral transmission, for instance, could be found. These changes, especially in technological development, led to the birth of mass media communication and to the creation of something that Kogawa Tetsuo calls ‘mass culture’. One important phenomenon that was generated by the growing popularity of anime and manga was the ‘encyclopedic mode’, or the tendency, explained by Deborah Shamoon, that fandoms have towards the creations of databases with properly organized information on their favourite stories. This mode plays an important role in mass culture, because that is the first place in

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which the average fan goes to deepen his knowledge on a topic that caught his interest. Furthermore, it is a mode which origins can be traced back into folklore art and especially in Toriyama Sekien’s bestiaries. The second, and longest, part of the chapter, will focus the attention on Spirited Away. What were the ideas and aims behind the creation of the movie? What values and features of the traditional snake dragon can be found in the character of Haku? Haku is a white dragon with snake like appearances who is, in fact, a river spirit. What does the dragon stand for? What does he embody? Why did Miyazaki chose to give it such an important role in the movie? As an example of conscious modern storytelling, it is important to understand what the Haku represent of the whole set of snakes and dragons beliefs and what features from the tradition were instead edited out.

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Chapter Two

Literature Review

2.1 Typology of Snake and Dragon Studies, and the Question of yōkai

For centuries, oral storytelling has been one of the main activities with which people amused themselves. Such practice had at least two purposes: to entertain and to teach. Legends, tales and folk beliefs were often characterized by supernatural events or protagonists, and they often had some type of moral. This is also the case for Japanese folklore. This country political and social conditions, which will be further explained later in the essay, enabled scholars to have access to a great number of “first-hand materials”.1 An impressive quantity of folktales and legends have been recorded throughout history, and many of them survived until the last century. Oral storytelling has not disappeared yet from Japan and with it, all the folktales normally passed down generation to generation. Young Japanese people do not have the same lifestyles that their parents, or grandparents had. In which way, therefore, is this tradition kept alive? If the social context that allowed folktales to flourish, survive and evolve disappeared into the midst of the 20th century’s modernization process, how can they survive this age?

One way to analyze this process is to select a folklore figure and to look into how it is perceived by people of different ages. Miracle animals such as kappa, tanuki, and kitsune have generated a great amount of scholarly literature, so many researchers, in fact, devoted part of their studies to these creatures. However, very little has been written about snakes, who are complex creatures that, according to folk beliefs, have the ability to evolve into a dragon, one of the characteristic images associated with Eastern Asian countries.

The first serious attempt to academically discuss this magical animal, in the west, was made by Willem De Visser back in 1913. In his book, Dragon in China and Japan, De Visser traces the mythological origins of the dragon all the way to India and its nagas, snakes believed to live under water bodies (mainly rivers) and in great wealth. The first part of his book is completely devoted to the explanation and analysis of these snake deities (cobras snakes to be more specifics). These supernatural beings can be found in many Hinduist and Buddhist tales. The rest of the book is

1

Adams, Robert J. "Folktale Telling and Storytellers in Japan." Asian Folklore Studies 26, no. 1 (1967). p 106

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divided between China and Japan, showing once more the great influence that the first had on the second. The book aims to shed light on the complex mythological origins and influences that contributed to the evolution of this iconic East Asian symbol. The information given by De Visser has been used in almost every later essay written on the topic, enabling future scholars to work from a set of reliable data. For these reasons, De Visser's book will be used many times in the essay as principal source of information on dragons and their connection with snakes.

This is also the case with Morris Edward Opler's Japanese Folk Belief concerning the Snake (1945). To De Visser's information, Opler adds a series of statements collected through interviews. Judging from what he reports, snakes in Japan appears to still be a taboo, especially in the countrysides, while urban realities already in the 40s were disregarding them with skepticism. An oddity, as Opler points out, regarding Japanese snake lore, is that, while in the majority of cultures around the world the snake is a symbol of masculinity, in Japan it is associated with bad qualities of the female gender. It looks like snake fear could be a male reaction to female potential power, hinted as a possible direction for further psychology studies. What is very useful of Opler's approach to the subject is the amount of first hand information collected from actual Japanese, from which t is possible to have an idea of how such beliefs were still alive in the first half of the 20th century.

The fact that people living in countrysides and in cities tend to react differently towards folk beliefs is the sign of Japan's modernization process that can be associated with the Westernization and social development of Japan. Modernization, is the global, but not uniform, process of technological and social transformation started during the nineteenth century, in Europe.2 1868, the year of the Meiji Revolution, was the starting point of the Modernization process that transformed Japan from an underdeveloped nation to one of the most industrialized societies of our age, some scholars seem to think that it is actually now the most modern society on earth.3

Robert J. Adams explains in a more detailed way the historical and social process that created such a great generational gap in Japan. In his essay from 1967, Folktale Telling and Storytellers in Japan, Adams claims that, before the beginning of this Westernization process, folktales were a form of entertainment enjoyed at every age, it was a way for families and entire communities, to relieve themselves from boredom during communal occupations or resting moments. For adults, especially men, spooky stories were fun and viewed as rite of passage, while for children the

2

McCormack, Gavan, and Yoshio Sugimoto. “Introduction: Modernization and Beyond.” Introduction. In The
Japanese Trajectory: Modernization and Beyond, edited by Gavan McCormack and Yoshio Sugimoto, 1–14. Cambridge: Cambridge University Press, 1988. p.1

3

Ibid p.1-2

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purpose was an educational. However, after the Meiji Restoration in 1868, and especially after the Education Rescript Act in 1893, things changed.4 Education became mandatory for boys and, later, for girls too. The time that children had for listening to tales during the evenings now was spent on books.5 Tales became also standardized and studied, slowly replacing the many existing variants with just a few popular ones.6 This process was more evident in urban realities rather than countrysides, where lifestyles changed on a different speed level. To give the final blow to storytelling practices (still alive to these days but on the verge of disappearing) came then television. With this new invention, older generations too found a new form of entertainment that became in a short period of time the main one.7 In conclusion, Adams acknowledges that even though storytellers and people with first-hand memories of such stories, during the 1960s, were still alive, the social occasions in which such tales were told are not there anymore. This is an important historical fact that marks the ending of a form of communication. Storytelling practices may be dying, but are their stories dying too? Since there are still storyteller alive it is possible that they will find another way to transmit their stories, and that is what this essay aims to do: to compare traditional storytelling to new forms of storytelling, in which way each of them portrays the figure of the snake. What was the traditional perception of this animal and how it is portrayed with new storytelling.

Matthias Eder writes on the topic of folktales in 1969, analyzing the subject from a different perspective. Do Japanese people today still believe in folktales? And if they do, to what extent?8 The question arises from the comparison with Western types of behavior towards supernatural beliefs or legend, that already Greek philosopher and the first Christian thinkers were disregarding as not real.9 Reasons behind the almost unique relationship with the supernatural that Japan has are, as Eder points out, many: historical, social and most of all religious. Interestingly, credulity (the tendency of believing to easily in events and concepts, regardless of the fact that they are or not true) seem to appear in individuals that do not have any connection with old beliefs too. In addition, now new myths and beliefs tend to have a worldwide impact rather than just local. This can be seen as an involuntary addition to the issues pointed out by previous authors like Adams, such as the tendency to better hold on to folk beliefs in the countrysides. Even though it is undeniable that such

4

Adams, "Folktale Telling and Storytellers in Japan." p.108 Ibid. p.108 Ibid. p.108 Ibid. p.108 Eder, Matthias. "Reality in Japanese Folktales." Asian Folklore Studies 28, no. 1 (1969): 17-25 p.25 Ibid. p.18

56789

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tendency does exist, supernatural can turn people of way different backgrounds into believers. However, is believers really the right way of calling every person who just has an interest in the supernatural? Is believing in such creatures really necessary in order to not forget them? Love for these type of stories comes from the fact that they are interesting, and to read or hear such stories does not equal believing in them, in my opinion. I argue that, believing in folklore, is not a condition for its survival anymore. Storytelling evolution and people's relationship with folktales, analyzed by Adam and Eder's, are important phenomenons, vital for this research.

In 1988, Kogawa Tetsuo wrote an essay that shows even more how much communication changed in relation to technological development. While exploring the ways and meanings of new mass media Kogawa explains how this is leading to the formation of a mass culture.10 With the circulation of the same information on a national scale, audiences too tend to homogenize into a mass.11 However, the 'revolution' is caused not just by mass media, but from the whole set of new electronic devices that changed Japanese people lifestyles and created new daily habits of every kind: social relations, communication, values and political consciousness.12 With precise numbers and data he shows the dramatic increasing of time that Japanese children spent in front of the television screen, from 56 minutes per day in 1960 to more than three hours per day in 1975.13 He compares television to an extra body part that generates a new collective consciousness that later became popular culture.14 For these reasons, Kogawa argues that mass media, including anime and manga, should not be taken lightly, because of the major influence that they have over Japan and over the creation of new aesthetic and social values.15 This essay represent another stepping stone for the understanding of the evolution of communication, of which storytelling practices are part of.

The latest book that deals extensively with dragons and snakes is China and Japan by Donald Mackenzie, from 1995. The book deals extensively with Chinese and Japanese myths and legends, it traces their origins, connections and similarities with other ancient cults around the world. More than one-third of the book focuses on dragon and snake lore, using De Visser's book as the main source, but also adding more information and expanding the geographical origins of such beasts. Stories about snakes and snake like beings are found all over the world but the most ancient come

10

Kogawa Tetsuo “New trends in Japanese popular culture.”. In The Japanese Trajectory: Modernization and
Beyond, edited by Gavan McCormack and Yoshio Sugimoto, 54-66. Cambridge: Cambridge University Press, 1988. p.55

11

ibid. p. 55 ibid. p. 55 Ibid. p.56 Ibid. p.56

12 13 14 15

Ibid. p.59

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from Egypt. It is evident, even from a superficial glance, that almost every culture or civilization connected snakes with the water element, from rivers and waterfall to the endless ocean. But Mackenzie point is, besides deepening the research about the roots of Japan and China's myths, to show how there is no such thing as a purely native originated culture.16 Both in China and Japan, he explains, present-day cultures are the result of influences, ideas, and traditions from both inside and outside the countries. In addition, such imported elements have been more or less object of historical and political processes that choose the survival of one rather than another. This book shows how snake lore is a world wide spread reality, present in the roots of almost every culture. De Visser, Mackenzie and Opler's researches combined offer plenty of materials dealing with dragons and snakes. The first two look at the origins and roots of the supernatural beliefs associated with these animals, while Opler works from interviews that he collected first-hand. Their works are those from which this essay will rely more upon, as they are reliable sources of data.

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    Qfacnell UtttDcratty SIthratg Jlll;aca, UStm Snrk CHARLES WILLIAM WASON COLLECTION CHINA AND THE CHINESE THE GIFT OF CHARLES WILLIAM WASON CLASS OF 1876 1918 Digitized by Microsoft® Library Cornell University GR 830 .D7V83 China and Jaoanv Digitized by Microsoft® This book was digitized by Microsoft Corporation in cooperation witli Cornell University Libraries, 2007. You may use and print this copy in limited quantity for your personal purposes, but may not distribute or provide access to it (or modified or partial versions of it) for revenue-generating or other commercial purposes. Digitized by Microsoft® ^\ Cornell University y m Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021444728 Digitized by Microsoft® Digitized by Microsoft® THE DRAGON IN CHINA AND JAPAN Digitized by Microsoft® Digitized by Microsoft® PREFACE. The student of Chinese and Japanese religion and folklore soon discovers the mighty influence of Indian thought upon the Far-Eastern mind. Buddhism introduced a great number of Indian, not especially Buddhist, conceptions and legends, clad in a Bud- dhist garb, into the eastern countries. In China Taoism was ready to gratefully take up these foreign elements which in many respects resembled its own ideas or were of the same nature; In this way the store of ancient Chinese legends was not only largely enriched, but they were also mixed up with the Indian fables. The same process took place in Japan, when Buddhism, after having conquered Korea, in the sixth century of our era reached Dai Nippon's shores.
  • Yokai Guide Baby Metal

    Yokai Guide Baby Metal

    OCTOBER 2015 Japan’s number one English language magazine Image © 2015 “Gekijorei” Film Partners YOKAI BABY GUIDE METAL SORTING TEENAGE OUT JAPAN’S SENSATIONS SUPERNATURAL LOOK TO ROCK CREATURES THE WORLD ALSO: Education Special, the Hoop Nation of Nippon, Marie Kondo Cleans Out the Clutter, People, Parties, & Placeswww.tokyoweekender.com and Much MoreOCTOBER 2015 OCTOBER 2015 www.tokyoweekender.com OCTOBER 2015 CONTENTS 15 MASTERS OF J-HORROR The Tokyo International Film Festival brings plenty of screams to the screen © 2015 “Gekijorei” Film Partners 14 16 20 BABYMETAL YOKAI GUIDE EDUCATION SPECIAL Awww...These teenagers are on a rock- Don’t know your kappa from your kirin? Autumn is filled with new developments fueled musical rampage Turn to page 16, dear friends at Tokyo’s international schools 6 The Guide 13 Akita-Style Teppanyaki 34 Previews Our recommendations for hot fall looks, Get ready for some of Japan’s finest The back story of Peter Pan, Keanu takes plus a snack that’s worth a train ride ingredients, artfully prepared at Gomei revenge, and the Not-So-Fantastic Four 8 Gallery Guide 28 Marie Kondo 36 Agenda Edo period adult art, the College Women’s Reclaiming joy by getting rid of clutter? Shimokita Curry Festival, Tokyo Design Association of Japan Print Show, and more Sounds like a win-win Week, and other October happenings 10 Japan Hoops It Up 30 People, Parties, Places 38 Back in the Day Lace ‘em up and get fired up for the A very French soirée, a tasty evening for Looking back at a look ahead to the CWAJ coming season of NBA action Peru, and Bill back in the Studio 54 days Print Show, circa 1974 www.tokyoweekender.com OCTOBER 2015 THIS MONTH IN THE WEEKENDER and domestic for decades, and this year the Tokyo International Film Festival OCTOBER 2015 has decided to take a walk on the spooky side, celebrating the work of three masters of “J-Horror,” including Hideo Nakata, whose upcoming release “Ghost Theater” gets the cover this month.
  • 141557-Sample.Pdf

    141557-Sample.Pdf

    Sample file ALP-CS06: Cerulean Seas CCeladoneladon Shores SampleRole Playing Game Supplement file New Undersea “Far East” Guide for use with the Pathfinder® Roleplaying Game* Written by Emily Ember Kubisz, Sam G. Hing, & Cameron Mount ! Credits ! Lead Designer: Emily E. Kubisz Artistic Director & Layout: Tim Adams Authors: Emily Ember Kubisz, Sam G. Hing, & Cameron Mount Editing and Development: Margaret Hawkswood, Patricia Hisakawa & Steven O'Neal Legal Consultant: Marcia McCarthy Cover Artist: Fabio Porfidia; Interior Artists: Tim Adams, Brian Brinlee, Israel Alvarez Carrion, Nicholas Cloister (of www.monstersbyemail.com), Alex Dedy, Thomas Duffy, Hoàng Dũng, Gary Dupuis, Kern Einheit, Mee-Yon Gyeong, Sonya Hallett, Margaret Hawkswood, Pascal Heinzelmann, Ashlee Hynes, Jill Johansen, Bob Kehl, Emily Kubisz, Jakub Kucera, Pauline Melad, Pablo Morales, Matt Morrow, R. J. Palmer, Kathrin Polikeit, Fabio Porfidia, Randall Powell, Sandy Purbacipta, Andreas Rabenstein, Hector Rodriguez, Michael Shears, Stephanie Small, Nirut Tamchoo, Sandara Tang, Andy P. Timm, J. Vahns, John Wigley, Vasilis Zikos Special Thanks to Our Kickstarter Contributors: Adam Windsor, Andrew (ZenDragon), Andrew J. Hayford, Andrew Maizels, Ben Lash, Bill Birchler, Bob Runnicles, Brian Guerrero, Carl Hatfield, Annette B, Chris Kenney, Chris Michael Jahn, Craig Johnston (flash_cxxi), Curtis Edwards, Daniel Craig, Daniel P. Shaefer, Daniyel Mills, Dark Mistress, David Corcoran, Jr., Davin Perry, Dawn Fischer, Dean M. Perez, Douglas Limmer, Douglas Snyder, Ed Courtroul, Ed McLean, Endzeitgeist, Francois Michel, Frank Dyck, Franz Georg Roesel, GLNS, Henry Wong, Herman Duyker, James "Jimbojones" Robertson, James Wood, Jason "Hierax" Verbitsky, Jason "Mikaze" Garrett, Jeremy Wildie, Jon Moore, Joseph "UserClone" Le May, Julien A. 0Féraud, Karen J. Grant, Karl The Good, Kevin Mayz, Kyle Bentley, Lewis Crown, Mark Moreland, Matthew Parker Winn, Michael D.
  • Essays on the Tale of Genji

    Essays on the Tale of Genji

    The DisasTer of The ThirD Princess Essays on The Tale of Genji The DisasTer of The ThirD Princess Essays on The Tale of Genji royall Tyler Published by ANU E Press The Australian National University Canberra ACT 0200, Australia Email: [email protected] This title is also available online at: http://epress.anu.edu.au/third_princess_citation.html National Library of Australia Cataloguing-in-Publication entry Author: Tyler, Royall. Title: The disaster of the third princess : essays on the tale of Genji / Royall Tyler. ISBN: 9781921536663 (pbk.) 9781921536670 (pdf) Notes: Bibliography. Subjects: Murasaki Shikibu, b. 978? Genji monogatari.--Criticism and interpretation Japanese literature--To 1600--History and criticism. Japan--Social life and customs--794-1185--History Dewey Number: 895.6314 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design by Teresa Prowse. Printed by University Printing Services, ANU This edition © 2009 ANU E Press Table of Contents Foreword vii Introduction 1 1. Genji and Murasaki: Between Love and Pride 15 2. Genji and Suzaku (1): The Disaster of the Third Princess 63 3. Genji and Suzaku (2): The Possibility of Ukifune 97 4. Genji and the Luck of the Sea 131 5. Pity Poor Kaoru 157 6. Two Post-Genji tales on The Tale of Genji 185 7. Feminine Veils over Visions of the Male 209 Abbreviations 229 Works cited 231 Foreword Four of these seven essays were published under different titles and in earlier forms between 1999 and 2006, and a fifth appeared in Japanese translation in 2008.1 The most recently written (“Genji and the Luck of the Sea”) dates from 2007.
  • Representation of Dinosaurs in 20Th Century Cinema

    Representation of Dinosaurs in 20Th Century Cinema

    DARWIN'S DAIKAIJU: REPRESENTATIONS OF DINOSAURS IN 20TH CENTURY CINEMA Nicholas B. Clark A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2018 Committee: Jeremy Wallach, Advisor Esther Clinton Erin Labbie © 2018 Nicholas B. Clark All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor The archetypal dragon, a composite of different living animals, has been popular for centuries, and we still tell stories about it today. One other monster seems to match the dragon in popularity, though it is not among the ranks of the traditional or legendary. Since their discovery in the late 18th century, dinosaurs have been wildly popular in both science and mass culture. The scientific status of dinosaurs as animals has not prevented people from viewing them as monsters, and in some cases, treating these prehistoric reptiles like dragons. This thesis investigates the relationship between the dragon and the dinosaur and the interplay between dragon iconography and dinosaur imagery in five dinosaur monster films from the mid-20th century: The Beast from 20,000 Fathoms (1953), Gojira (1954), Godzilla Raids Again (1955), Gorgo (1961), and Ghidorah, the Three-Headed Monster (1964). In addressing the arguments other critics have made against equating the dragon with the dinosaur, I will show that the two monstrous categories are treated as similar entities in specific instances, such as in monster- slaying narratives. The five films analyzed in this thesis are monster-slaying narratives that use the dinosaur in place of the dragon, thus “draconifying” the dinosaur.