Download The Anime Machine: A Media Theory of Animation PDF

TitleThe Anime Machine: A Media Theory of Animation
ISBN 139780816651542
CategoryArts - Film
File Size10.2 MB
Total Pages425
Table of Contents
Introduction: The Anime Machine
Part I. Multiplanar Image
	1. Cinematism and Animetism
	2. Animation Stand
	3. Compositing
	4. Merely Technological Behavior
	5. Flying Machines
	6. Full Animation
	7. Only a Girl Can Save Us Now
	8. Giving Up the Gun
Part II. Exploded View
	9. Relative Movement
	10. Structures of Depth
	11. The Distributive Field
	12. Otaku Imaging
	13. Multiple Frames of Reference
	14. Inner Natures
	15. Full Limited Animation
Part III. Girl Computerized
	16. A Face on the Train
	17. The Absence of Sex
	18. Platonic Sex
	19. Perversion
	20. The Spiral Dance of Symptom and Specter
	21. Emergent Positions
	22. Anime Eyes Manga
Conclusion: Patterns of Serialization
Document Text Contents
Page 212

173I N N ER N AT U R E S

of her and knowledge about her. The result is an organization of knowledge pro-
duction around the new god, a beautiful girl. This otaku episode is a beautifully
apt follow-up to the enclosed panorama of Atlantis. Here, too, instead of a pan-
oramic vantage and universal knowledge of the world guaranteed by God, there
is an enclosed vantage and a knowledge whose horizon is delimited and guaran-
teed by a new little god, the idol. Despite the limitation of the horizon, however,
the pursuit of truth within the otaku enclosure is as infinite and ambitious, as
panoramic and encyclopedic as classical or Enlightenment knowledge.

In the otaku episode, in a lighthearted way, Nadia anticipates Okada Toshio’s
Otaku no video, with its darkly comic portraits of socially and legally marginal
pursuits on the part of male otaku. But Anno’s Nadia affords a very different angle
on otaku. Nadia is, in effect, intent on “otakunizing” a classic tale of modernity,
that is, otakunizing Miyazaki. As such, it enables us to perceive the connections
between very modern structures of perception (panorama and panopticon) and
allegedly postmodern otaku forms of knowledge and image production. In this re-
spect, Nadia is unlike Okada (and subsequent otaku commentators like Murakami
Takashi) who directly links postmodern otaku imaging with premodern or Edo
practices, thus bypassing modernity and positing Japan outside and beyond it. In
contrast, Nadia predicates the loss of an “out there” on the technological enclo-
sure of the Cartesian subject. In a sense Nadia is a rewrite of the classic tale of the
fall of God and the emergence of Man, in which God turns out to be space aliens,
and Man turns into otaku guys. And the double bind of humanism, by which
humans are at once the subject and object of knowledge and history, becomes the
double bind of the otaku man, who is at once engineered and engineering.9

Jean eventually leaves the ship’s fan club because he knows Nadia is his
one and only. Nonetheless, the otaku episode casts its post-Enlightenment otaku
light on Jean’s pursuit of science and invention. Jean’s immersion in science and
technology is supposed to afford an absolute vantage on the world and a uni-
versal knowledge that will resolve all problems scientifically, but this is a post-
Heideggerian world in which immersion in gadgets is already a basic technologi-
cal condition—or enclosure, as it were. Jean’s inventions tend to fail, but more
significantly, his immersion in gadgets is merely another limited horizon, as if
each invention was yet another in an endless series of technology-contingent,
localized knowledge formations. It does not offer a more rational view or other-
wise better vantage on world. It is one of many frames of reference. But now
we see that different frames of reference, although relativized, are nonetheless
productive of knowledge. In this respect, they are truly fields, whose potential
depth and breadth comes in pursuit of the god, idol, icon, or the bullet, mecha,
starship, or other invention, along a specific line of sight. Jean’s inventions are

Page 424

385I N D E X

mass destruction, xxxv, 5, 45, 51, 58,
91–92, 155, 157, 179, 217, 232. See also
ballistics; war; weaponry realism

weightlessness, 72, 74–76, 85. See also
clean-up; gravity

windows, xvi, 32, 108, 128, 137, 269,
327n4. See also Cartesianism; computer

Wolf boy Ken. See Ookami shōnen Ken
women: absence of, 235–37, 252; genre

conventions, 70, 80, 82–83, 216–18;
image versus actual, 150, 152, 210,
240–41, 248–49; manga production
and, 318–19; object of gaze, 280–81,
292; symptomatic consistency, 253–54,
278, 319. See also gender; girls; gynoid;

workflow, xxviii, 58, 71, 86–87, 286, 318.
See also clean-up; key animation

world destruction. See destruction
world image. See world picture
World Masterpiece Theater, 58
world picture, 62–63, 168, 170. See also


X, 218
xxxHolic, 218

Yabushita, Taiji, 56
Yamaga Hiroyuki, 129, 146
Yamaguchi Katsunori, 24, 66
Yogi Bear, 187

Žižek, Slavoj, xxxvi, 222, 236, 238, 242,
253, 256, 288–89, 292–93, 297, 320

Page 425

Thomas Lamarre is professor of East Asian studies, art history, and commu-
nications studies at McGill University. He is associate editor of Mechademia:
An Annual Forum for Anime, Manga, and Fan Arts (published annually by the
University of Minnesota Press) and author of Shadows on the Screen: Tanizaki
Jun’ichirō on Cinema and Oriental Aesthetics and Uncovering Heian Japan: An
Archaeology of Sensation and Inscription.

Similer Documents