By Stevie Suan

Based on richly stylized expression, Anime has constructed into an artwork with a excessive measure of class that's resembling that of the conventional theatrical sorts of Noh, Bunraku, and Kabuki. via examining Anime during the lens of conventional eastern theater, the styles and practices in Anime might be mapped out. within the Anime Paradox, Stevie Suan makes use of this framework to bare Anime’s specified shape, reading and delineating the actual formal characteristics of Anime’s constitution, conventions, aesthetics, and modes of viewing. even if, the comparability works either ways—just as eastern theater may give us analytical insights into Anime, Anime can increase our figuring out of jap classical theater.

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Extra info for The Anime Paradox: Patterns and Practices Through the Lens of Traditional Japanese Theater

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The white which lives within the inkstone29 reciting their emotions on the side. Costumes also play an important role in all three forms in expressing the inner attributes of the characters portrayed on stage. In Anime, costume changes, as well as mecha changes, often occur in tandem with the character development, similar to the way a Noh or Kabuki character will change costumes after their true selves are revealed. The settings created in Anime appear as intricate and elaborate backdrops for the drama, each with particular societal structures for the characters to move through.

44 It is 43 This is a term Steinberg uses to describe Thomas Lamarre’s discussion of limited animation in terms of the dynamism of the still images used. Steinberg, Anime’s Media Mix: Franchising Toys and Characters in Japan: 6, 213n21. 44 Keene, “Realism and Unreality in Japanese Drama,” 63. 46 The outer unreal elements can be found throughout the Japanese theatrical world in all the different forms described here. This can be seen in Noh with the use of masks, abstract acting, and sparse stage decoration, if any.

Sergei Eisenstein saw this type of relationship between part and whole in the many elements within Kabuki, relating this to cinema’s montage in a treatise on film. Eisenstein saw each shot of a montage as an individual world, each building upon the other to then create the whole, and the desired emotional effect within the spectator. He saw this practice already being used within the Japanese traditional arts, commenting on both Kabuki, and ukiyoe woodblock prints. These forms would take different parts, exaggerate or condense them when needed to a specified effect; each its own unit, but putting them together to create a larger work that would induce a desired result based on the culmination of its parts into a whole.

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