Standish, Isolde: "Akira, Postmodernism and Resistance." In: The Worlds of Japanese Popular Culture. Gender, Shifting Boundaries and Global Cultures. Hrsg. v. Dolores P. Martinez. 3. Aufl. (Contemporary Japanese Society.) Cambridge [etc.]: Cambridge Univ. Press, 2001, S. 56–74.
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|Resource type: Book Article
BibTeX citation key: Standish1998a
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Keywords: "Akira", Adaptation, Animation, Film adaptation, Intermediality, Japan, Manga, Ōtomo. Katsuhiro
Creators: Martinez, Standish
Publisher: Cambridge Univ. Press (Cambridge [etc.])
Collection: The Worlds of Japanese Popular Culture. Gender, Shifting Boundaries and Global Cultures
This chapter is concerned with a textual analysis of Akira (1988), the highly successful cyberpunk film created by Otomo Katsuhiro. This analysis is an exploration of the complex systems of codes and practices employed by the film and the spectator in the creation of meaning; however its main emphasis will be on the perspective of the spectator. As with most commercial films produced by the Japanese studio system, Akira (Tôhô Studios) is aimed at a specific audience: adolescent males who are fully conversant with the codes and cultural systems employed in the film. Therefore, to reach an understanding of how a Japanese adolescent male creates meaning (and so derives pleasure) from Akira involves not only an understanding of the uses the film makes of other textual systems, but also an understanding of the position occupied by some adolescent males in Japanese society.
The aim of this chapter, then, is twofold: first, to come to an understanding of Akira from the point of view of its intertextuality; and second, to present an interpretation of the film as a point of convergence of the spectator-film-culture nexus.
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