![]() In fact, in 1997 Princess Mononoke broke all box office records to become, briefly, the highest-grossing film of all time in Japan, and it remains to this day the highest grossing Japanese film ever” (Napier, 7). Anime, short for the English word animation, became a major output for the Japanese studios “producing around 50 animated series a year and a comparable number of OVAs. ![]() With the demand of American films so high, the Japanese turned their focus to another avenue of entertainment, animation. She explains, the popularity of Hollywood movies virtually drowned out box office appeal for Japanese cinema. Napier begins by describing the phenomenon of anime, and its relation to Japanese live-action cinema. Despite, demonstrating a strong knowledge of the medium, the darker depths of anime are merely touched upon and deserve closer examination. Furthermore, she glosses over the mindset and status of animators, as well as failing to address artistic conventions within anime. Attempting to justify the darker side of anime, Napier turns her back to the resonance of Japanese patriarchy. ![]() Yet, her knowledge is clouded by her enthusiasm often making her work subjective. Defining TV shows and Original Video Animation (OVA) into three categories, apocalyptic, festival, and elegiac, she is able to define a vast array of work. Usan Napier’s book Anime: From Akira to Princess Mononoke delves into the world of anime and the psychology that fuels it. HPIA Hofstra Papers in Anthropology Volume 1, Article #1, 2007 A Critical Look at Anime: From Akira to Princess Mononoke
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