Cyberpunk anime often stage postapocalyptic and hyper-technological futures. By recognizing the narrative power of animated landscapes, this article describes the background of these anime and explores scenarios in which space and technology are hybridized in one narrative and aesthetic device. Examined landscapes are taken from anime: Future boy Conan (Mirai shōnen Konan, 1978), Akira (1988), Metropolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999), and Sword Art Online (2012). The analysis is diegetic, stylistic and symptomatic, and is divided into two main sections: in the first one technological cities are described as re-mediation (Grusin, 2017) of the architectures of the Japanese “Metabolists” of the 1960s; in the second one cyber-fantasy settings are explored as pre-mediation (ibídem) of immersive virtual worlds. In conclusion, the article recognizes anime as valuable medium to reveal and question social issues related to technology.

Paisajes animados como remediación y premediación: ciudades cíborgs y mundos virtuales en los anime japoneses / Maselli, Vincenzo. - In: CON A DE ANIMACIÓN. - ISSN 2173-6049. - 13(2021), pp. 78-93. [10.4995/caa.2021.15927]

Paisajes animados como remediación y premediación: ciudades cíborgs y mundos virtuales en los anime japoneses

Vincenzo Maselli
Primo
2021

Abstract

Cyberpunk anime often stage postapocalyptic and hyper-technological futures. By recognizing the narrative power of animated landscapes, this article describes the background of these anime and explores scenarios in which space and technology are hybridized in one narrative and aesthetic device. Examined landscapes are taken from anime: Future boy Conan (Mirai shōnen Konan, 1978), Akira (1988), Metropolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999), and Sword Art Online (2012). The analysis is diegetic, stylistic and symptomatic, and is divided into two main sections: in the first one technological cities are described as re-mediation (Grusin, 2017) of the architectures of the Japanese “Metabolists” of the 1960s; in the second one cyber-fantasy settings are explored as pre-mediation (ibídem) of immersive virtual worlds. In conclusion, the article recognizes anime as valuable medium to reveal and question social issues related to technology.
Los anime del género ciberpunk muestran un futuro post-apocalíptico e hipertecnológico. Reconociendo el poder narrativo de los paisajes animados, el artículo describe los escenarios de algunos de esos anime, en los que el espacio y la tecnología se hibridan en un único dispositivo narrativo y estético. Las escenografías examinadas están tomadas de Conan, el niño del futuro (Mirai shōnen Konan, 1978), Akira (1988), Metrópolis (Metoroporisu, 2001), Neon Genesis Evangelion (Shin seiki Evangerion, 1995), Digimon (1999) y Sword Art Online (2012). El análisis es diegético, estilístico y sintomático, y se divide en dos grandes apartados: en el primero, las ciudades tecnológicas se describen como remediación (Grusin, 2017) de las arquitecturas de los “metabolistas” japoneses de los Sesenta; en el segundo, los escenarios de la fantasía cibernética se exploran como premediación (ibídem) de mundos virtuales inmersivos. En conclusión, el artículo reconoce al anime como un medio narrativo para revelar y discutir temas sociales relacionados con la tecnología.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/1571181
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