ANIME:syllabus-09
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[edit] INTRODUCTIONS
Works of animation account for over half of all film and television programs produced in Japan today. In the last twenty years international attention to anime has grown into a multi-billion dollar industry, spawning derivative styles worldwide. With early roots in the stylistically gritty Japanese graphic novel, anime is at its core an adult medium unlike youth-directed American equivalents. Complex and sophisticated, anime norms contrast the Hollywood standard. The broad cultural appeal of this successful model has rocketed anime into the new global pop movement.
This course is a critique of anime from its earliest Japanese roots to its contemporary international stage. We will evaluate anime as both cultural product and global medium. Contributing styles and social concerns of major anime artists will be explored as well as the production difference in American vs. Japanese studios. The relevance of broader evolving themes will be identified, as will the origins of standard character types and the markers of historically significant anime contributions. Finally, the course will cover the industry of global anime distribution as well as the growth and influence of fan culture.
[edit] ASSIGNMENTS
In collaboration with our reading discussions, students are expected to apply their skills to a series of related assignments. I expect thoughtful, creative, and thorough work in all cases. More details for each of these assignments will be provided.
- Participation (25%): Students are expected to attend all discussion sessions and screenings minus unusual circumstances. If a screening is missed, all material will be on reserve in the Traina Center Resource Library. Excessive absence will affect a student’s ability to complete assignments and thus their final grade. Everyone is expected to partake in meaningful, constructive efforts aimed at progressing their own ideas as well as those of fellow students. Simply attending class is not enough. All students are required to digest assigned readings in order to fully participate.
- Presentation (10%): Each week one student will be responsible for preparing, photocopying, and distributing a summary of issues and topics presented in the readings. This summary will serve as a loose agenda for that day’s topics (note: this summary should be a handout only, not the presentation itself). The student is also responsible for doing enough background legwork to bring to class additional material related to the readings/screenings that contribute to our discussion. This might be a related manga issue, a toy or consumer product, an article, a cosplay display, a related anime work in that genre or director/writer, example of Eastern anime influence on similar Western productions, etc. The presentation should NOT consist of a summary of the reading or the films to be discussed in class. Visual aids are helpful but not required. Please avoid using prolonged YouTube videos or similar media clips unless they substantiate your presentation in some what that you intend to discuss their implications and content thoroughly. The most successful presentation will be concise, well researched, and cleanly presented within the framework of that week's topics.
- Studio/Director Paper (15%): As would be expected, directors, writers, and producers of anime works heavily influence artistic styles as well as thematic treatment. The same can be said of collective workgroups and anime-specific production studios. The student will choose one director or studio (excluding Miyazaki and studio Ghibli which we will be discussing in depth) for greater analysis, looking at their personal history, contributions to the medium, and influence on future works. A suggested list of directors/studios will be provided. Required Length, 4-5pgs excluding visual aids. Please see the list of suggested directors and studios.
- Manga Analysis Project (25%): An overwhelming majority of anime originates as manga and graphic novels. The growing popularity of anime works outside Japan has also increased manga readership and availability. The student will be responsible for reading 3 volumes/issues of one manga series or one full-length graphic novel with Japanese origins, preferably with anime connections - any major bookstore chain has a healthy variety to choose from. The first aspect of the paper will consist of a breakdown summary of plots, characters, and themes. The second component will analyze the series/novel within the framework of issues and trends determined in our readings and discussions. A suggested list of topics will be provided. Required Length of second component, 8-10pgs excluding visual aids.
- Series Analysis Project (25%): Given the breadth of anime as a genre, we are clearly limited in what we will be able to cover in one semester. This is especially true in the case of television and OVA anime where we will only be able to view a few select episodes. Before the end of the semester each student will therefore be required to watch one anime series in full. If a series spans multiple seasons, one season will be sufficient. While there are more than a dozen series to choose from in the Resource Library, students can select an alternate anime series in which case the student is responsible for obtaining any media necessary to complete the assignment. The first aspect of the paper will consist of a breakdown summary of plots, characters, and themes. The second component will analyze the series within the framework of issues and trends determined in our readings and discussions. A suggested list of topics will be provided. Required Length of second component, 8-10pgs excluding visual aids.
[edit] GRADING & ACADEMIC HONESTY
Late projects will be reduced ½ a letter grade for each class they are past due. Extensions will be considered for special circumstances. Grades of A reflect excellent work, B above average work, C average work, and so on. Any material used from external sources must be referenced in-text appropriately. Use whichever citation method feels comfortable as long as you use this method consistently. Always include a full bibliography of your sources. Any plagiarism or cheating will result in a failing grade and disciplinary action.
Written work will be evaluated based on three criteria. Thesis: Is there a clear argument developed throughout the paper? Do you effectively introduce and conclude your argument? Evidence: How well do you illustrate your points? Are there counter-arguments to your thesis that require consideration? Method: Is your paper cleanly written? Are there grammatical or spelling errors? Does the paper meet the requirements in scope and length?
[edit] TEACHER AVAILABILITY
In addition to the normal class times, I will also be available in my office (basement of Traina Center – photo office) Mondays and Thursdays 2:40pm - 3:30pm. These are my minimum hours of availability.
Let’s face it; the teacher doesn’t always know the answer. If there is something you don’t know that I don’t know, we can work together to find an answer. I encourage you to push the boundaries of your knowledge and grow beyond the basic outline of this course.
[edit] REQUIRED TEXTS
Susan J. Napier, "Anime from Akira to Howl’s Moving Castle", 1-4039-7052-1
Frenchy Lunning, Ed., "Mechademia Vol. 1", 0-8166-4945-6
Roland Kelts, "Japanamerica", 1-4039-8476-X
Patrick Drazen, "Anime Explosion", 1-8806-5672-8
Gilles Poitras, "The Anime Companion", 1-8806-5632-9 (recommended)
Additional readings will be assigned as is detailed in the weekly schedule. These may change as the semester progresses. In lieu of a course reader, all additional readings will be made available online.
