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Bigelow, Susan J. "Technologies of Perception: Miyazaki in theory and practice." Animation 4. (2009): 55–75. 
Added by: joachim (11/8/10, 6:36 PM)   Last edited by: joachim (5/3/23, 5:09 PM)
Resource type: Journal Article
Language: en: English
Peer reviewed
DOI: 10.1177/1746847708099740
BibTeX citation key: Bigelow2009
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Categories: General
Keywords: Animation, Benjamin. Walter, Japan, Miyazaki. Hayao, Philosophy, Randformen des Comics, Religion
Creators: Bigelow
Collection: Animation
Views: 62/1223
The current Western fascination with Japanese animation can be understood in relation to the experience of the digital in cultural production that opens new avenues of understanding about the self-as-subject. Visualization to engage with the image in interactive, virtual environments involves relinquishing control to recognize the individual as emerging through the unique pattern of their relationships, both human and non-human. This reality is articulated in Eastern philosophical notions of interrelatedness and pre-reflective thinking, what Marshall McLuhan called `comprehensive awareness'. The Japanese animator Miyazaki Hayao draws on a Zen-Shinto religious imaginary to empower the individual to relinquish the self. As an alternative politics to the moral confusion of the post-modern age, his practice demonstrates that Walter Benjamin's gamble with cinema is in play.
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