Publication: La identidad de los personajes de los personajes en la obra del director de "anime" Satoshi Kon y su vinculación con el movimiento artístico "Superflat"
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2017-03-02
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Universidad Complutense de Madrid
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Abstract
Nuestro propósito es demostrar que a través de la identidad de sus personajes, la obra del director de anime Satoshi Kon está contextualizada dentro del movimiento artístico japonés Superflat. También buscamos determinar si los personajes principales de Kon ven alterada su identidad como consecuencia de una crisis en sus conciencias y comprobar si esto afecta de alguna manera a la narración de la historia. Al seleccionar nuestra muestra de estudio, hemos descartado sus trabajos como dibujante de mangas, puesto que los consideramos fuera de nuestra incumbencia. También aquellos trabajos en los que no ejercía como director o quedaron inacabados tras su muerte. Al tener en cuenta esos dos criterios, la muestra de estudio en nuestra investigación está formada por las siguientes obras: Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent y Paprika. El estudio de la animación japonesa presenta una serie de dificultades para el investigador occidental, debido a que los textos referidos al tema son siempre escasos. En nuestra investigación consultamos manuales, libros y artículos de ámbitos dispares. Por una parte, recurrimos a los libros que analizan el manga y el anime, así como los textos que tratan sobre cine japonés. En estos medios debemos destacar a autores como Richie, Schodt, Sala, Ortabasi, Gravett o Napier, entre otros muchos. Entre las obras referidas a la animación japonesa se da especial importancia a las centradas en la figura del director, destacando las publicadas por Osmond, Kirst, Montero, López y Cerdán. Además recurrimos a varias entrevistas realizadas al director (y alguno de sus colaboradores) en medios diversos. Al mismo tiempo, prestamos atención a autores provenientes del estudio del personaje en narrativa: Bobes, Garrido, Genette o Chatman; así como también a los que están enmarcados dentro del estudio del relato audiovisual: Gaudreault, Jost, Mitry, Sánchez- Noriega, Metz o Morin...
Our main purpose is to show, through his characters’ identities, that the works of anime director Satoshi Kon are contextualized within the Japanese Superflat art movement. We also seek to determine if Kon’s main characters’ identities are affected as a result of a crisis in their consciences, and see if this fact changes somehow the storytelling. When selecting our study sample, we have discarded his works in manga, because we consider them out of our business, as well as those works that did not perform as a director or were unfinished after his death. After considering these two criterions, the study sample in our research is formed by the following works: Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent and Paprika. The study of Japanese animation presents a number of difficulties for Western researcher, because the texts referring to the topic are always scarce. In our research we consult manuals, books and articles of disparate areas. On the one hand, we turn to books that analyze the manga and anime, as well as Japanese cinema. In these media we must emphasize authors as Richie, Schodt, Sala, Ortabasi, Gravett or Napier, among many others. Regarding the works related to Japanese animation, is given special importance to the ones focus on the figure of the director, highlighting published by Osmond, Kirst, Montero, Cerdan and Lopez. In addition, we use several interviews made in various media to the director and some of his assistants. At the same time, we pay attention to authors that study the character in fiction: Bobes, Garrido, Genette and Chatman; as well as those that are framed within the study of audiovisual story: Gaudreault, Jost, Mitry, Sanchez-Noriega, Metz or Morin. In general in Japanese art we use Gutiérrez’s texts; in the study of Superflat we use Murakami’s texts besides other authors as Bogarín, Matsui, Sawagari, Siegel or Munroe...
Our main purpose is to show, through his characters’ identities, that the works of anime director Satoshi Kon are contextualized within the Japanese Superflat art movement. We also seek to determine if Kon’s main characters’ identities are affected as a result of a crisis in their consciences, and see if this fact changes somehow the storytelling. When selecting our study sample, we have discarded his works in manga, because we consider them out of our business, as well as those works that did not perform as a director or were unfinished after his death. After considering these two criterions, the study sample in our research is formed by the following works: Perfect Blue, Millennium Actress, Tokyo Godfathers, Paranoia Agent and Paprika. The study of Japanese animation presents a number of difficulties for Western researcher, because the texts referring to the topic are always scarce. In our research we consult manuals, books and articles of disparate areas. On the one hand, we turn to books that analyze the manga and anime, as well as Japanese cinema. In these media we must emphasize authors as Richie, Schodt, Sala, Ortabasi, Gravett or Napier, among many others. Regarding the works related to Japanese animation, is given special importance to the ones focus on the figure of the director, highlighting published by Osmond, Kirst, Montero, Cerdan and Lopez. In addition, we use several interviews made in various media to the director and some of his assistants. At the same time, we pay attention to authors that study the character in fiction: Bobes, Garrido, Genette and Chatman; as well as those that are framed within the study of audiovisual story: Gaudreault, Jost, Mitry, Sanchez-Noriega, Metz or Morin. In general in Japanese art we use Gutiérrez’s texts; in the study of Superflat we use Murakami’s texts besides other authors as Bogarín, Matsui, Sawagari, Siegel or Munroe...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Comunicación Audiovisual y Publicidad II, leída el 21-01-2016