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2016 | 29 | 59-84

Article title

Imaginary Nostalgia: The Poetics and Pragmatics of Escapism in Late Modernity as Represented by Satsuki & Mei’s House on the EXPO 2005 Site

Authors

Content

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Languages of publication

EN

Abstracts

EN
The inclusion of a life-sized replica of the family house from the anime work My Neighbor Totoro (Studio Ghibli/Miyazaki Hayao, 1988) among the international pavilions on the EXPO 2005 site resulted in the creation of an absolute highlight-sightseeing attraction, running fully-booked months in advance during the EXPO; after the EXPO, the whole site eventually becoming a huge sanctuary for the preservation of nature with Mei & Satsuki’s House as a pilgrimage space in the center. Based on extensive fieldwork – over several years of interviews and participatory observation – as well as in-depth literature research, this presentation’s goal is to point out the intricate relation between nature, escapism and happiness as main parameters in the process of reconstructing the past. The past will be viewed here as a repository of emotional energy and socio-cultural role-models, beyond political and economic compulsions, transgressing the limits of time and space.

Keywords

EN

Year

Issue

29

Pages

59-84

Physical description

Dates

published
2016-12-01

Contributors

  • School of Global Humanities and Social Sciences at Nagasaki University, Japan

References

  • Helen McCarthy and Hayao Miyazaki, Master of Japanese Animation, Berkeley: Stone Bridge, 1999, p. 46.
  • Brian Ruh, Stray Dog of Anime: The Films of Mamoru Oshii, New York: Palgrave Macmillan, 2004, p. 17.
  • Julia Kristeva, La révolution du langage poétique, Paris: Éditions du Seuil, 1974, pp. 28–54.
  • Jennifer Ellen Roberston, ‘“Internationalisierung” als Nostalgie im heutigen Japan’ in Überwindung der Moderne? Japan am Ende des zwanzigsten Jahrhunderts, Frankfurt am Main: Suhrkamp Verlag, 1996, p. 179.
  • Manuel Castells, The Information Age: Economy, Society and Culture II: The Power of Identity, Oxford and Malden, Massachusetts: Blackwell Publishers, 1997, p. 268.
  • Susan J. Napier, Anime from Akira to Howl's Moving Castle, New York: Palgrave, 2005, pp. 23–38.
  • Fred Davis, Yearning for Yesterday – A Sociology of Nostalgia, London and New York: Macmillan Press, 1979, p. 8.
  • Marylin Ivy, Discourses of Vanishing – Modernity, Phantasm, Japan, Chicago: University of Chicago Press, 1995, p. 27; Tessa Morris-Suzuki, Re-Inventing Japan: Time, Space, Nation, Armonk, New York and London: M. E. Sharpe. 1998, p. 131; Jennifer Ellen Robertson, Native and Newcomer – Making and Remaking a Japanese City, Berkeley, Los Angeles and Oxford: University of California Press, 1991, p. 17.
  • Davis, Yearning for Yesterday…, p. 50.
  • Donald Richie, A Hundred Years of Japanese Film – A Concise History with a Selective Guide to Videos and DVDs, Tokyo, New York and London: Kodansha International, 2001, p. 15.
  • Davis, Yearning for Yesterday…, p. 140.
  • Ivy, Discourses of Vanishing..., p. 103–108; Robertson, Native and Newcomer…, pp. 7–14.
  • Roberston, ‘“Internationalisierung” als Nostalgie im heutigen Japan…’, pp. 180–185.
  • Yoshiko Shimada, ‘Afterword – Japanese Pop Culture and the Eradication of History’ in Consuming Bodies: Sex and Contemporary Japanese Art, London: Reaktion, pp. 186–191.
  • Zygmunt Bauman, Modernity and Ambivalence, Cambridge: Polity Press, 1991, p. 27; Terry Eagleton, The Idea of Culture, Oxford and Cambridge, Massachusetts: Blackwell Publishers, 2000, p. 128.
  • Anne Allison, ‘Cuteness as Japan's Millennial Product’ in Pikachu's Global Adventure – The Rise and Fall of Pokémon, Durham and London: Duke University Press, 2004, p. 34–49; Nicholas Bornoff, ‘Sex and Consumerism – The Japanese State of the Arts’ in Consuming Bodies: Sex and Contemporary Japanese Art, London: Reaktion, 2002, p. 41–68; Sharon Kinsella, ‘Cuties in Japan’ in Women, Media and Consumption in Japan, Richmond: Curzon Press, 1995, p. 220–254.
  • Gorô Miyazaki, Mitaka no mori Jiburi Bijutsukan zuroku [The Image Book of Ghibli Museum in Mitaka Forest], Tokyo: Tokuma Foundation for Anime Culture, 2004, pp. 25–44.
  • Parallel to his activity as an architect and landscaper, Miyazaki Gorô directed two anime movies, Tales from Earthsea (2006) and From Up On Poppy-Hill (2011), both released by Studio Ghibli. He additionally directed the TV anime series Ronya, the Robber’s Daughter [Sanzoku no musume Rônya (26 episodes), based on the eponymous children’s fantasy book by reputed Swedish author, Astrid Lindgren, first published in 1981, co-produced by Polygon Pictures and Studio Ghibli], aired from October 11, 2014 until March 28, 2015 on NHK BS Premium.
  • Joy Hendry, The Orient Strikes Back – A Global View of Cultural Display, Oxford and New York: Berg Press, 2000, p. 28.
  • 夕暮れ時、完成した「サツキとメイの家」の茶の間に座っていると、映画の中にいるようでもあり、今はなくなってしまった祖父母の家にいるようにも錯覚します。懐かしさと新鮮さが同居する不思議な気分で、もしかするとマックロクロスケ(真っ黒黒助)が暗がりからこちらを見ているのではないかと空想してみたりするのです”– Gorô Miyazaki, Satsuki to Mei no ie no tsukurikata [The Construction Method of Satsuki & Mei’s House], Tokyo: Studio Ghibli/Tokuma Press, 2012, p. 4.
  • Kristeva, La révolution..., pp. 44–57 and 73–79.
  • A bus ride is possible as well, as most of the visitors would prefer, but for those choosing to take the less known path from the former West-Entrance, the initiation trip towards Satsuki & Mei’s House is worth the 20-to-25-minutes-walk.
  • Okpyo Moon, ‘The countryside reinvented for urban tourists – Rural transformation in the Japanese mura-okoshi movement’ in Japan at Play: The Ludic and the Logic of Power, Joy Hendry and Massimo Raveri (eds.), London and New York: Routledge, 2002, p. 231f.; Morris-Suzuki, Re-Inventing Japan…, p. 241.
  • Roberston, ‘“Internationalisierung” als Nostalgie im heutigen Japan’, p. 186.
  • Isao Takahata ‘Erosu no hibana’ [‘An Explosion of Eros’] in Departure Points 1979–1996, Miyazaki Hayao (ed.), Tokyo: Tokuma Shoten, 1996, p. 578.
  • Maria Grajdian, Das japanische Anime: Versuch einer wissenschaftlichen Annäherung, Sibiu: Lucian Blaga University Press, 2008, p. 82.
  • Jan Condry, The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story, Durham: Duke University Press, 2013, p. 24; Patrick Drazen, A Gathering of Spirits: Japan’s Ghost Story Tradition: From Folklore and Kabuki to Anime and Manga, Bloomington: iUniverse, 2011, p. 98.
  • Shana Heinricy, ‘Take a Ride on the Catbus’ in Wide Eyed Wonder: Anime & Philosophy, Josef Steiff and Tristan D. Tamplin (eds.), Chicago and La Salle: Open Court Press, 2010, p. 8.
  • The anpo movement was a student movement in Japan, comparable to the western 1968 movement, and opposing the renewal of the Treaty of Mutual Cooperation and Security between the United States and Japan 日本国とアメリカ合衆国との間の相互協力及び安全保障条約 Nippon-koku to Amerika-gasshūkoku to no Aida no sôgo kyôryoku oyobi anzen hoshô jôyaku (also known as Anpo jôyaku 安保条約 or just Anpo安保), first signed in 1952 in San Francisco, then amended in 1960 in Washington and extended in 1970, in spite of the protests.
  • Judith Butler, Gender Trouble – Feminism and the Subversion of Identity, London and New York: Routledge, 1990, p. 88; Judith Butler, Bodies that Matter – On the Discursive LOimits of “Sex”, London and New York: Routledge, 1993, p. 41; Kristeva, La révolution..., p. 476.
  • Arjun Appadurai, Modernity at Large – Cultural Dimensions of Globalization, Minneapolis and London: Minnesota Press, 1996, p. 77.
  • Ibid. p. 30.
  • Roberston, ‘Internationalisierung als Nostalgie im heutigen Japan’, p. 181.
  • Ibid. p. 189.
  • John Storey, Cultural Studies and the Study of Popular Culture – Theories and Methods, Edinburgh: Edinburgh University Press, 1996, p. 47.
  • Appadurai, Modernity at Large…, p. 65–77; Andy Bennet, Cultures of Popular Music, Buckingham and Philadelphia: Open University Press, 2001, p. 153; Michel Focault: L'archéologie du savoir, Paris: Gallimard, 1969, p. 462.
  • Ibid. pp. 77 and 111–117; Kristeva, Le texte du roman, Hague-Paris: Mouton, 1970, p. 156.
  • Kinsella, ‘Cuties in Japan…’, p. 248.
  • Julien R. Fielding, Discovering World Religions at 24 Frames per Second, Lanham: Scarecrow Press, 2008, p. 18–19.
  • Patrick Drazen, Anime Explosion – The What? Why? and Wow! of Japanese Animation, Berkeley: Stone Bridge, 2003, p. 184.
  • Maria Grajdian, ‘The Precarious Self: Love, Melancholia and the Eradication of Adolescence in Makoto Shinkai’s Anime Works’ in Imagining the Lost Generation: Representations of Precarity in Japanese Popular Culture, Roman Rosenbaum and Kristina Iwata-Weickgenannt (eds.), London and New York: Routledge, 2014, p. 122; Castells, The Information Age.., p. 284.
  • Isao Takahata, Jûniseiki no animêshon: Kokuhô emakimono ni miru eigateki, animeteki naru mono [Animation from the 12th Century: Movie and Anime-Like Things to Be Seen in the Picture Scrolls Categorized as National Treasures], Tokyo: Tokuma Shoten/Studio Ghibli, 1999, p. 37.
  • Shimada, ‘Afterword…’ p. 189f.
  • Hidetoshi Katô, ‘Japanese Popular Culture Reconsidered’ in Handbook of Japanese Popular Culture, Richard Gid Powers and Hidetoshi Katô (eds.), Westport, Connecticut and London: Greenwood Press, 1989, pp. 309–310; Mark Schilling, The Encyclopedia of Japanese Popular Culture, New York and Tôkyô: Weatherhill, 1997, p. 78; Christine R. Yano, Tears of Longing – Nostalgia and The Nation in Japanese Popular Song, London and Cambridge, Massachusetts: Harvard University Press, 2002, p. 35.
  • Kristeva, Le texte..., p. 23.
  • Ivy, Discourses of Vanishing..., p. 69; Okpyo Moon, ‘The countryside reinvented for urban tourists – Rural transformation in the Japanese mura-okoshi movement’ in Japan at Play: The Ludic and the Logic of Power, Joy Hendry and Massimo Raveri (eds.), London and New York: Routledge, 2002, p. 231f; Morris-Suzuki, Re-Inventing Japan…, p. 28.

Document Type

Publication order reference

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