Cooper, Lisa Marie. “The History of
Anime.” Global History of Anime. RightStuf,
n.d. Web. 27 September 2016.
This source provides chronological
information about the history of anime, as well as how Japan’s rigid gender
roles influenced early cartoon productions. In order to establish a foundation
of how women are represented in anime, exploring the origins of Japanese
animated fiction is vital. The genres of anime that characterize women
derogatorily are copious, which is a theme discussed throughout the article. The
1933 animated film, “Chikara to Onna no
Yo no Naka” (Within the World of Power and Women) depicts a father committing
adultery with his secretary after growing exhausted with his demanding wife. This
example supports how Japanese animation combined adult themes with cultural
bias during a time where gender equality was not considered valuable. Moreover,
the current, fanciful portrayal of café waitresses adorned with catlike
features and maid regalia emanates from early anime where anthropomorphic
characters were initially featured. The passive nature of human and animal
hybrid characters appeals to the Japanese population, which is demonstrated in
various examples featured in the article. Useful passages pertaining to modern
anime, including magical girl genres like “Sailor Moon,” contribute to female
characters evolving from helpless to heroic.
Ochrymowicz, Lani. Personal
interview. Facebook, 13 October 2016.
An interview
that I conducted with Lani Ochrymowicz, a peer, provided insight to support my
topic of how women are represented in anime. She expressed knowledge about female
characters featured in various genres, as well as recognition of chauvinism
displayed in the cartoons. The example that dominated the interview was “Girls
Bravo,” which involves a teenage male who is transported to a planet inhabited
by young women. Yukinari Sasaki, the protagonist, becomes allergic to females
after he experiences their relentless lechery and ridiculing behavior. This
negative connotation of women is present in multiple anime, where overbearing
females weaken the male characters, opposing their typical non-assertive nature.
Women who erode the emotional structure of men are perceived as culturally
undesirable because they do not conform to traditional female roles, which is
illustrated by Sasaki’s acute aversion to them. According to Ochrymowicz, “10%
of the population on this planet is male, so that’s why you see 4 year olds in
the anime shout out, ‘Be my husband!’ As if it’s the only thing women have to
aspire to.” Japanese fiction usually features unrealistic elements, such as Sasaki’s
ailment to the young women around him, contributing to a fantasy where alien females
of any age appear romantically desperate. “Girls Bravo” is classified as
Shōnen, a genre aimed at men that exemplifies women behaving either
coquettishly or salaciously. The contrast in Sasaki’s behavior is evident, as
his illness subsides when he meets a young alien woman possessing a flirtatious,
non-threatening demeanor different than the domineering female characters on
Earth. Altogether, the interview with Ochrymowicz was essential to support how
viewers perceive gender-related issues in anime. The fact that a male created
the series, which indicates that women who behave submissively are rewarded,
demonstrates how authors’ personal opinions about femininity and culture may affect
the storyline.
Maeda, Jun and Key (VisualArt’s), creators. Clannad. Kyoto Animation, 2004-2007. Web. 16 October 2016
As a romantic drama, “Clannad” depicts
an array of complex female characters who display behaviors dissimilar to each
other, supporting the diverse nature of how young women are represented in
anime. The genre is considered “harem anime” because the main female characters
demonstrate attraction for Tomoya Okazaki, the male protagonist. However, this
characterization does not impair their individual personalities, but
contributes to the evidence that romance is the leading attribute in certain
fictional Japanese females. The series is prefaced by Okazaki witnessing Nagisa
Furukawa, the heroine of the anime, comforting and speaking to herself before
attending high school. Furukawa’s initial insecurity is relevant to the topic
of how cartoon females in Japan are represented as hesitant and repressed from
their peers. Her aspiration to establish a drama club is hypocritical because
of her introverted nature, which she strives to overcome. Compared to the other
characters, Furukawa is unique because of her susceptibility to illnesses,
which caused her to be absent from school for an entire year. Conversely, her
weakness is offset by other female characters such as Kyou Fujibayashi and
Tomoyo Sakagami, who display irate behaviors and incite physical violence with
males. Furukawa’s profound shyness evolves into maturity throughout the series,
whereas the other female characters exhibit confidence on a constant basis. When
climactic events occur, such as the death of a friend, Furukawa emerges as the most
emotionally stable character compared to her companions, which illustrates her
growth as a fictional young woman. The personal journey that she undergoes reflects
the goals that Japanese women may seek to achieve in their own lives,
triumphing over their domestic culture. Overall, “Clannad” provides a range of
female characters exhibiting realistic emotions, demonstrating that young women
in anime are vastly characterized.
Romano, Andrea. “Cosplay Is Not Consent: The People Fighting
Sexual Harassment At Comic Con.” Entertainment: Gaming. Mashable, 15
October 2014. Web. 17 October 2016.
A topic that coincides with the
representation of women in anime is sexual harassment present in comic
conventions. People participating in cosplay, or “costume play,” embody
characters often derived from Japanese fiction and demonstrate their artistry
in contests. However, the portrayal of certain characters may garner harassment
and disrespect to the wearer, which is the focus of this article. In these
situations, women emulating anime characters who appear provocative in their
attire or mannerisms are assumed to behave in that exact way, leading to
unwanted sexual attention. At the “New York Comic Con” (NYCC), informational placards
delineating appropriate ways to greet fellow convention participants are
present, along with the message, “Cosplay Is Not Consent.” Victims claim that their
harassers viewed them explicitly as characters instead of individuals, which
illustrates how fantasy supersedes reality in certain instances. In actuality,
people involved in cosplay strive to represent their characters as
authentically as possible, whether they appear scantily-clad or realistic. Additionally,
professional comic book artists have voiced their opinions on the issue of
sexual assault and cosplay, stating that “better costumes” illustrating
strength instead of sexuality would be more effective. Organizations combating
harassment at conventions, such as “Geeks for CONsent,” encourage attendees to
defend each other when necessary. According to Romano, “Cosplayers attend
events like NYCC to build a sense of community in a place where their passions
and their joy can be appreciated.” Unfortunately, conventions have developed
into venues where unwanted attention, primarily directed towards women, is
present, which may dilute the creativity of its participants. This issue stems
from anime, where sexually-suggestive female characters are abundant. If their
provocative nature is lessened and replaced with empowering characteristics,
harassment at cosplay events may be reduced.
Lifeinplastic21. “Anastasiya Shpagina aka Fukkacumi.” The Doll House. Tumblr, n.d. Web. 16 October 2016.
The effervescent nature of anime is
admired globally, as it embraces characters with nearly ideal body structures,
likeable attitudes and fantastical lives. However, this adoration becomes
harmful when it turns to blatant veneration of these characters, who usually
possess realistic human emotions that appeal to viewers. The blurring of fictional
elements and reality is present in the lives of “living dolls,” a subculture of
people, usually women, who exemplify flawless cartoon-like images. The persona
of a “living doll” or “living anime girl” is characterized by contacts that
achieve larger eyes and surgery to sculpt the body, which mimics the even tone
of plastic. One of the most recognized of these young women is Anastasiya
Shpagina, a Ukrainian 19-year-old, who drastically altered her appearance to
embody the style of anime. Although her look is unique and does not mirror a
specific character, Shpagina demonstrates extreme fanaticism with the way that
women are represented in anime. Her desire to have surgery performed to modify
her waist and augment her eyes is characterized by her unhappiness with looking
human. Shpagina admits to using Photoshop to edit the images she posts online,
claiming that, without makeup, she is “not a photogenic person.” Furthermore, anime
provides an escape from reality for viewers, with characterizations of
attractive, popular young women in imaginary situations. After Shpagina’s
parents divorced, she began personifying characters that she observed from
Japanese animation, creating a personalized world that was “free of family
problems.” People who identify as “living dolls” likely suffer from Body
Dysmorphic Disorder, a mental illness where they perceive flaws in their
appearance, obsessively attempting to improve their physicality. Her
disapproval of photographs of herself that she did not develop illustrates her
self-consciousness with how she cannot control how she is viewed by others. Hence,
the characterization of females in anime has influenced young women to the
point of adopting a self-deprecating attitude to achieve unhealthy, idealistic
results.
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