More Mangaesque than the Manga: "Cartooning" in the Kimetsu no Yaiba Anime
| العنوان: | More Mangaesque than the Manga: "Cartooning" in the Kimetsu no Yaiba Anime |
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| المؤلفون: | Berndt, Jaqueline, 1963 |
| المصدر: | Transcommunication. 8(2):171-178 |
| مصطلحات موضوعية: | anime, manga, chibi, cartoon, fluid identity, aesthetic materiality, Aesthetics, estetik, Japanology, japanologi, medie- och kommunikationsvetenskap, Media and Communication Studies |
| الوصف: | Kimetsu no yaiba has attracted attention with regard to transmediality, but it also raises awareness of media specificity. To exemplify the specific mediality of anime (as a distinct type of entertaining fiction resting on animated moving images), I take an intermedial approach and focus on the abundant use of mangaesque devices in the TV anime, or more precisely, ‘chibi instances’ heightened by mangaesque pictograms and other “visual morphemes” (Cohn). These instances interrupt the anime’s visual-stylistic as well as narrative continuity (and reception thereof), which has made them a matter of occasional discontent in popular criticism. Significantly, the manga source work does not feature as many and as spectacular mangaesque elements as the anime adaptation. While this may relate to media-mix marketing on the one hand, and the TV anime’s strongly nostalgic, if not conservative, orientation on the other hand, I foreground ‘cartooning’ as conceptualized in comics studies and animation history.Leaning on recent discussions of Scott McCloud’s early notion of ‘cartoon’ as a graphic mode prevalent in comics (cf. Packard 2017, Wilde 2020, Molotiu 2020), I relate ‘cartooning’ in the Kimetsu no yaiba TV anime to the already mentioned ‘comicana’ (emanata, momentum lines, sweat beads, etc.), and to chibi-fication. Anime, as distinct from ‘animation made in Japan,’ is marked, among other things, by chibi, manifesting not only in exaggerated (‘super deformed’) midget characters that afford merchandise figures, but, more importantly, a midget version of one and the same character. Chibi-fication makes affective states visible, promotes characters’ fluid identity, and playfully jeopardizes diegetic coherence by way of abruptly changing registers. Found in the more openly structured TV series format rather than ‘authorial’ animated movies, and whereever anime prioritizes ‘figurative’ over ‘embodied acting’ (cf. Suan), chibi-fication presents itself as an instantiation of what Thomas Lamarre (2020) has conceptualized as “switching” — if approaching it from the perspective of aesthetic materiality, and considering 3rd and 1st narrative perspectives, seriousness and comicality, cuteness and grotesqueness, visible ‘picture object’ and invisible referential meaning (cf. Wilde 2020), and also generically masculine and feminine modes. |
| وصف الملف: | electronic |
| URL الوصول: | https://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-196835 http://hdl.handle.net/2065/00081282 https://su.diva-portal.org/smash/get/diva2:1594616/FULLTEXT01.pdf |
| قاعدة البيانات: | SwePub |
| تدمد: | 21884986 |
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