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. Kōuchi Junichi produced Namakura Gatana (Blunt-edged Sword) which is generally regarded as the first animation production, though not released publicly. Kitayama Seitarō is credited with producing another notable pioneering animated work, Sarukani Gassen ( The Battle Between the Monkey and the Crab ), but there is no surviving footage. All of these animations were produced in 1917. 8 . The association of anime with “post-modern” tropes is in fact partly due to anime’s increasing figuring in films that accentuate cultural pastiche and rhizomatic narrative conventions. 9 . The idea of the “thwarted fable” is developed more fully in Ranciere’s Film Fables , trans. Emiliano Battista, Oxford: Berg, 2006. 148 Notes 149 10 . This possibility of overlap is explored to some extent by Giussepina D’Oro in “Collingwood on Re-enactment and the Identity of Thought” in The Journal of the History of Philosophy , 38(1), Johns Hopkins University Press, 2000, pp. 87–101. 11 . Cognitivism is clearly a broad school of thought and is difficult to define. Obviously David Bordwell and Noel Carroll’s Post-Theory: Reconstructing Film Studies (Madison: University of Wisconsin Press, 1996) is the seminal work. For a more recent outline of “the state of play” for cognitivism see the excellent collection edited by Ted Nannicelli and Paul Taberham, Cognitive Media Theory (AFI Film Readers) , New York and London: Routledge, 2014. 1 R. G. Collingwood and a “Philosophical Methodology” of Aesthetics 1 . Davies, David. “Collingwood’s ‘Performance’ Theory of Art” in The British Journal of Aesthetics , 48(2), 2008, pp. 162–174. Ridley, Aaron, “Not Ideal: Collingwood’s Expression Theory” in The Journal of Aesthetics and Art Criticism , 55(3), pp. 263–272. 2 . Collingwood, R. G., An Essay on Philosophical Method (revised edition), James Connelly and Giuseppina D’Oro (eds), Oxford University Press, 2008, and The Idea of History , Clarendon Press, 1946. 3 . For Wollheim’s interpretation of Collingwood see Wollheim, R., Art and Its Objects , 2nd edn (Cambridge: Cambridge University Press, 1980), pp. 36–43, and “On an Alleged Inconsistency in Collingwood’s Aesthetic”, in Critical Essays on the Philosophy of R.G. Collingwood , M. Krausz (ed.), (Oxford: Oxford University Press, 1972). 4 . Sclafani, Richard, “Wollheim on Collingwood” in Philosophy 51(197), 1976, pp. 353–359. 5 . John Dilworth’s response is in “Is Ridley Charitable to Collingwood?”, Journal of Aesthetics and Art Criticism , 56(4), 1998, pp. 393–396. For Ridley’s response see Ridley, A., “Collingwood’s Commitments: A Reply to Hausman and Dilworth”, Journal of Aesthetics and Art Criticism, 56(4), 1998, pp. 396–398. 6 . Connelly, James, “Patrolling the Boundaries of Politics: Collingwood, Political Analysis and Political Action” in The British Journal of Politics and International Relations , 7(1), pp. 67–80. 7 . See also p. 18 of the Editors’ Introduction in the same edition for comments regarding “extension” and “intension”. 8 . As Collingwood himself states: “The reader will find that, in order to bring into relief the special characteristics of philosophy, it is constantly compared with science, and in particular two kinds of science, empirical and exact” (Collingwood, 2005: 8–9). 9 . Dray’s seminal exposition of “re-enactment” in Collingwood accentuates, in line with Mink and Donagan before him the inter-related character 150 Notes of Collingwood’s system of thought. Donagan in particular emphasized the consonant aspects of The Idea of History and The Principles of Art . For parallel references see Collingwood, (1946: 10; 1938: 291). Also see Donagan, A., “Collingwood and Philosophical Method” in Critical Essays on the Philosophy of R. G. Collingwood , M. Krausz (ed.), (Oxford: Clarendon Press, 1972), pp. 1–19. 10 . Collingwood reiterates this across several passages within The Principles of Art , (1938): see pp. 115–117, 275–280 & 292. 11 . “Nothing is in the imagination that was not first felt in the senses”, see Collingwood, 1938: 307. 2 Anime as Craft 1 . Dani Cavallaro has highlighted Miyazaki Hayao’s penchant for suggesting that he is in some sense merely a slave to his art, not knowing where it will take him. This is not mere posturing, and it can be suggested that serious art, even when it is as technically collaborative as an animated feature, necessitates this dimension of indeterminacy if it aspires to be genuinely artistic. See Cavallaro, The Animé Art of Hayao Miyazaki , Jefferson, NC: McFarland & Co, 2006: 134. 2 . The Japanese title for Miyazaki Hayao at Work is 『宮崎駿の仕事』(NHK, 2009), while the Japanese title for The Kingdom of Dreams and Madness is『夢と狂気の王国』 (Dwango and Ennet Co., 2013). 3 . Nolan was adamant that CGI would not be the mainstay of this film, as is apparent in his remarks released as part of the official Production Notes , Warner Brothers, 2010, p. 12. 4 . Lamarre is clear that Miyazaki is not trying to compete against cinema – he has a separate artistic agenda. He also grasps that Miyazaki has a distinct pre-cinematic vision. Nonetheless, he persists in framing this as an attempt “to open a different relation to technology from within tech- nology”: see Lamarre 2009: 44. 5 . Again, Lamarre is to be commended for emphasizing that the technical choices of Japanese animators have not been due to merely material constraints or relative lack of expertise, but due to other motivations (see Lamarre, 2009: 24–25). 3 Anime as Representation 1 . For a practical discussion of issues around avoiding an obsession with photo-realism see Gregory Garvey’s “Life Drawing and 3-D Modelling with MAYA: Developing Alternatives to Photorealistic Modeling” in Leonardo , 35(3), 2002, pp. 303–310. 2 . For an outline of some of the more pejorative perceptions of anime see Drazen, Anime Explosion: the What? Why? and Wow! of Japanese Animation , Berkley CA: Stone Bridge Press,2003: 16–26. Notes 151 3 . Greenberg’s reading of Wells is perhaps contentious – readers should review Wells’ full treatment of animation in Understanding Animation , Routledge, 1998, pp. 10–35. 4 . Both Brian Massumi and Steven Shaviro stand out as having explored the significance of affect in its broadest aspect, Massumi focusing on the integratedness of affect in relation to cognition and feeling (see Massumi, Brian, Parables for the Virtual: Movement, Affect, Sensation , Durham, NC: Duke University Press, 2002), while Shaviro has accentuated the corpo- real dimension (see Shaviro, Steven, The Cinematic Body, Minneapolis: University of Minnesota Press, 1993). The possibility of bridging these concerns and integrating them within the compass of Collingwood’s theory of imagination is explored in detail in Chapter 6. 5 . Susan Napier analyses the role of female protagonists across several of Miyazaki’s films, albeit not with the sense of them being focalizers but rather vehicles of “defamiliarization”: Napier, Anime from Akira to Howl’s Moving Castle, Palgrave, 2005: 152–156. 6 . An interesting contrast can be made between Lamarre’s view and Collingwood’s view of “illusory sensa” in relation to imagination. See Collingwood, 1938: 188–192. 4 Anime as Amusement 1 . Of particular note is Antonia Levi, “The Americanization of Anime and Manga: Negotiating Popular Culture” in Cinema Anime , Brown (ed.), Palgrave Macmillan, 2006, pp. 43–63. 2 . Collingwood also makes passing reference in this context to Bergson’s notion of an “aphrodisiac civilization”. See Collingwood, 1938: 85. 3 . For a recent and more fully wrought discussion of Otaku culture, see Azuma Hiroki’s Otaku: Japan’s Database Animals , University of Minnesota Press, 2009, a translation of the 2001 Japanese original entitled『動物化する ポストモダン』. 4 . The most crucial section dealing with the arguments around distinguishing between “imagination” and “make-believe” can be found in Collingwood, 1938: 135–138. 5 . Peter Lewis, “Collingwood on Art and Fantasy”, Philosophy , 64(250), Cambridge University Press, 1989, pp. 547–555. 6 . Brian Ruh discusses Oshii’s affection for Bassett hounds in several films: Ruh, 2004: 8, 111, 132 & 181. 7 . Discussion of Kon Satoshi’s biographical background can be found in Napier’s discussion of Tokyo Godfathers : “From Spiritual Fathers to Tokyo Godfathers: Depictions of the Family in Japanese Animation” in Hashimoto and Traphagan (eds), Imagined Families, Lived Families: Culture and Kinship in Contemporary Japan , SUNY Press, 2008, pp.