The Anime Paradox: Patterns and Practices Through the Lens by Stevie Suan

By Stevie Suan

Based on richly stylized expression, Anime has built into an artwork with a excessive measure of class that's equivalent to that of the conventional theatrical sorts of Noh, Bunraku, and Kabuki. through studying Anime throughout the lens of conventional eastern theater, the styles and practices in Anime will be mapped out. within the Anime Paradox, Stevie Suan makes use of this framework to bare Anime’s special shape, reading and delineating the actual formal traits of Anime’s constitution, conventions, aesthetics, and modes of viewing. even though, the comparability works either ways—just as eastern theater can provide us analytical insights into Anime, Anime can improve our realizing of eastern classical theater.

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Much of what is discussed in this book can apply directly to Anime as an art form, and can be seen throughout Anime productions. Thus the conclusions and points made will be with the term “Anime,” though the examples given will be primarily from the SF genre. There is simply too much Anime to direct a study at all Anime, and the differences within genres in Anime need further attention. It is my hope that this study can begin a discussion on this topic for future research. Many Anime are series that run for two seasons of twelve or thirteen episodes, concluding the series at around twenty-six episodes.

Yet just as often it is the characters that are the draw for the audience, and in many series it is difficult to determine whether we are watching a story about a world and its characters, or a story of the characters within a world. Anime narratives sometimes produce this indistinctness: the environments the drama takes place in are so detailed and rich, with their own cultures, histories and rules that it is difficult to decide whether it is a show on the characters, the world they live in, or both.

However, the distance 47 The first example could be from many Anime, but the second is from Trigun (Trigun, 1998–1998). 48 Except as merchandise created based on the Anime. Steinberg provides some insight on Anime merchandise in the lived environment. See Steinberg, Anime’s Media Mix: Franchising Toys and Characters in Japan. 49 Keene, “Realism and Unreality in Japanese Drama,” 55. the white which lives within the inkstone33 created through the unreal aspects allows the art to be accepted by the viewer and seen as “beautiful” through their stylized presentation.

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