Manga, Anime, Otaku Special Topics: Japanese Media Fandom in a Global Context

COMM 163.01, Fall 2019, Instructor: Dan Leopard Tuesday and Thursday 1:15 to 2:50 PM, FAH 105

Office Hours: 9:30 AM to 11:30 PM Thursday, Sichel 105H Phone: 310-779-4908 (cell)

E-mail: dleopard59@gmail.com Blog: http://jantermotaku.wordpress.com/

Course Description Astroboy. Akira. Cowboy Bebop. Spirited Away. Superflat. All of these names refer to Japanese comics, animated films, and art works that have moved across the globe bringing with them a distinctive fan sensibility, that of the “otaku.” Otaku, which roughly translates as “fan boys,” are famous (or infamous) as rabid consumers of anime, manga, and videogames all of which feature characters and stories derived from science fiction and fantasy genres. While otaku have often been portrayed by the media, in the US and Japan, as “couch potatoes” and immature malcontents, recent cultural studies scholarship has placed them in a more positive light, linking them with the myriad transformations in identity and social relationships that are taking place in response to postmodernity, globalization, and the digital. At an immediate level, global otaku culture, watched closely by Hollywood, has deeply influenced global media from Pixar to the MCU to Steven Universe.

Come prepared to think deeply and critically, to steep yourself in modern Japanese history and culture, and to plunge headfirst into the delirious worlds of anime and manga. This is a virtual travel course to Japan – by way of movie clips, essays, comic books, and the Internet – which will engage with the popular culture that is signaling the future of what it means to be human in this postmodern global society.

“He spoke to me of Sei Shonagon, a lady in waiting to Princess Sadako at the beginning of the 11th century, in the Heian period…Real power was in the hands of a family of hereditary regents; the emperor's court had become nothing more than a place of intrigues and intellectual games. But by learning to draw a sort of melancholy comfort from the contemplation of the tiniest things this small group of idlers left a mark on Japanese sensibility much deeper than the mediocre thundering of the politicians. Shonagon had a passion for lists: the list of ‘elegant things,’ ‘distressing things,’ or even of ‘things not worth doing.’ One day she got the idea of drawing up a list of 'things that quicken the heart.’ Not a bad criterion I realize when I'm filming...”

–Chris Marker, Sans Soleil (Sunless), 1983

Required Texts 1. Manga! Manga! The World of Japanese Comics by Frederik L. Schodt (Kodansha, 2012) 2. Illustration School: Let’s Draw Happy People by Sachiko Umoto (Quarry, 2010) 3. Showa: 1953-1989: A History of Japan by Shigeru Mizuki (Drawn & Quarterly, 2015) 4. Fullmetal Alchemist: vol. 1-2-3 by Hiromu Arakawa (Viz Media, 2011) 5. Anime: From Akira to Howl’s Moving Castle by Susan J. Napier (St. Martin’s, 2005) 6. The Otaku Encyclopedia by Patrick W. Galbraith (Kodansha, 2013) 7. PDF Files available on the course blog under “Documents”

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Recommended Text & Tools 1. Modern Japan: A Very Short Introduction by Christopher Goto-Jones (Oxford, 2009) 2. Image Capture Device - Smart Phone or Digital Camera 3. Data Backup - Cloud Storage Account or Portable Hard Drive (USB)

Learning Objectives Upon completion of this course students will be able to:

1. Understand and discuss the key works and ideas that have developed within the fields of media and fan studies.

2. Critique media and cultural texts by artists and makers using critical, historical, and theoretical frameworks drawn from class readings, discussions, and screenings.

3. Apply critical, historical, artistic, and theoretical frameworks examined throughout the course to media and cultural texts not covered in class.

4. Demonstrate an ability to read critically, write clearly, and research and argue effectively as the foundational skills upon which media and cultural studies depend.

5. Use electronic and digital media for research, presentation, and creative production at a basic level of proficiency.

6. Complete a final project that incorporates creative artistic production and critical research practice.

Course Requirements Class/Screening Attendance. Students are required to attend all class/screening sessions. Absences due to sickness must be documented in writing. More than four unexcused absences will result in a failing grade for the course. In addition, students must check the course blog – jantermotaku.wordpress.com – between class sessions for new information pertaining to class discussion and readings.

Discussion Questions/Screening Notes. Students are expected to complete each reading assignment and to formulate a single sentence as a question or comment for presentation during class discussion. Students must post this question to the course blog by midnight prior to class meeting time. During in-class screenings and discussions students are expected to take notes to aid recall.

Group Presentations. During the first five weeks of the semester, student groups will present on manga or anime not already covered in the course. Your choice of manga or anime to present must be approved by the instructor. Presentation dates are listed on the course schedule.

Lab Sessions. Students will participate in classroom lab activities throughout the semester. Completed projects from these labs will be presented during the following class session. See course schedule for more details.

Critical Visual Essays. Students will complete three short critical visual essays (3-5 paragraphs + images, 1 page total) in response to key texts, concepts, and theories during the first half of the semester. These essays will be posted to the blog in response to a prompt by the due date. See course schedule for details.

Critique Sessions. Students will present their final projects at work-in-progress critique sessions to fellow class members. Presentations should focus on integrating student work into the context of the media and topics featured throughout the course.

Final Research-based Project/Presentation + Write-up. Students will complete a final project (comic book, visual essay, portfolio of photographs, short video, or other forms of media) addressing a historical or contemporary issue in a rigorous and creative manner. Students will present their project in class using media and technology to illustrate or amplify their argument.

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Grade Breakdown Attendance/Blog Comments & Questions (20%), Critical Visual Essays (25%), Critique Sessions/Presentations/Labs (20%), Final Project/Presentation + Write-up (35%).

Note: critical visual essays and final projects will be graded using conventional marks A-F. Participation, Questions, Presentations, and Critiques will be graded Pass-Fail (check, zero, check-plus).

Grading Standards “C” indicates an adequate command of the substantive material of the course as demonstrated through class participation and satisfactory completion of class assignments and papers.

“B” indicates significantly above average engagement with the course and its requirements.

“A” indicates mastery of course material and represents a sophisticated analysis or creative treatment of the ideas and materials covered in the course.

“D” indicates that less than satisfactory work has been accomplished.

“F” indicates a failure to meet the minimum requirements for the course.

Course Logistics Incompletes or Missing Papers/Projects. No late assignments or projects will be accepted for any reason except for a documented medical emergency. Incompletes will be determined on a case-by-case basis. Discussion questions, critical essays, and final papers/projects are due at the beginning of class on the due date.

Academic Integrity. Saint Mary’s College expects the highest standards of academic excellence and ethical performance from students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper to more than one instructor, or submitting a paper authored by anyone other than yourself. Violations of this policy will result in a failing grade and be reported to the Office of Advising. If you have any doubts or questions about these policies, consult the student handbook and/or confer with the professor. The MLA Handbook provides concise advice on how to avoid plagiarism – read pages 6-10.

Student Disability Services Statement. Student Disability Services extends reasonable and appropriate accommodations that take into account the context of the course and its essential elements for individuals with qualifying disabilities. Students with disabilities are encouraged to contact the Student Disability Services Office at (925) 631-4358 to set up a confidential appointment to discuss accommodation, policies, guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint Mary’s website: http://www.stmarys-ca.edu/sds

Library Statement. Need library sources but don't know where to start? Searching for a book, article, or data to inform your argument? Not sure how to cite a source in your bibliography? Ask a librarian! Research help is available in person at the Reference Desk, by phone at 925-631-4624, and during reference hours you can even text a librarian at 925-235-4762 or chat with us live via the Library's website. Check the Library’s Ask Us page for details: http://www.stmarys-ca.edu/library/ask-us

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Class Schedule Legend:

View = watch during class session Read = read prior to class session Lab = begin in class, finish and post online before next class session Due = at beginning of class session

Begin.

UNIT I: MANGA

Week 1 3 September: Introduction to Japanese Media and Fandon

View: Japanese Cinema Sampler – Mizoguchi, Ozu, Kurasawa, Suzuki

5 September: Traditional Japanese Aesthetics and the Visual Essay View: Examples of Japanese Visual Culture + Visual and Video Essays Read: Jun’ichiro Tanizaki, In Praise of Shadows (PDF)

Jillian Tamaki, “Trash the Block” (PDF) Scott McCloud, Understanding Comics [excerpt on color] (PDF)

Due: Discussion Question/Sign up – New Manga-Anime Supershow-tell

Week 2 10 September: Manga 1 – Early Anime and the God of Manga

View: The Roots of Japanese Anime, Zaka Films, 1930-1942 (Japan/USA) Astro Boy, Tezuka Osamu, TV Show, 1963 (Japan/NBC) Legend of the Forest, Tezuka Osamu, 1987 (Japan)

Read: Frederik Schodt, Manga! Manga!, p. 1-67 + 160-187 (Tezuka) Due: Discussion Question

12 September: New Manga-Anime Supershow-tell + Making Manga! 1 Read: Sachiko Umoto, Illustration School: Let’s Draw Happy People, p. 1-23 Due: Group Presentation Supershow-tell 1 Lab: Drawing Songs (present work at next lab session) [Bring pencil and/or pen and blank white paper]

Week 3 17 September: Manga 2 – Samurai and Spirits

View: Mobile Suit Gundam, TV Series, 1979-1980 (Japan) Read: Frederik Schodt, Manga! Manga!, p. 68-119 + 188-214 (Matsumoto) Due: Critical Visual Essay 1 (post link to blog) + Discussion Question

19 September: New Manga-Anime Supershow-tell + Making Manga! 2 Read: Sachiko Umoto, Illustration School: Let’s Draw Happy People, p. 24-39 Due: Group Presentation Supershow-tell 2 Lab: Drawing Family (present work at next lab session) [Bring pencil and/or pen and blank white paper]

Week 4 24 September: Manga 3 – Industry and Economics View: Cowboy Bebop, TV Series, 1998-1999 (Japan/Adult Swim) Read: Frederik Schodt, Manga! Manga!, p. 120-158 + 215-255 (Ikeda + Nakazawa) Due: Discussion Question

26 September: New Manga-Anime Supershow-tell + Making Manga! 3 Read: Sachiko Umoto, Illustration School: Let’s Draw Happy People, p. 40-63 Due: Group Presentation Supershow-tell 3 Lab: Drawing Working People (present work at next lab session) [Bring pencil and/or pen and blank white paper]

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Week 5 1 October: Manga Pop, Manga Archetype (Midterm) View: Fullmetal Alchemist, TV Show, 2003-2004 (Japan/Adult Swim) Read: Hiromu Arakawa, Fullmetal Alchemist: vol. 1-2-3 Due: Critical Visual Essay 2 (post link to blog) + Discussion Question

3 October: New Manga-Anime Supershow-tell + Making Manga! 4 Read: Sachiko Umoto, Illustration School: Let’s Draw Happy People, p. 64-87 Due: Group Presentation Supershow-tell 4 Lab: Drawing Fairytale People (present work at next lab session) [Bring pencil and/or pen and blank white paper]

Week 6 8 October: Manga History, Manga Mind View: Paprika, Satoshi Kon, 2006 (Japan) Read: Shigeru Mizuki, Showa: 1953-1989: A History of Japan Due: Discussion Question

10 October: New Manga-Anime Supershow-tell + Making Manga! 5 Read: Sachiko Umoto, Illustration School: Let’s Draw Happy People, p. 88-112 Due: Group Presentation Supershow-tell 5 Lab: Drawing World Clothing (present work at next lab session) [Bring pencil and/or pen and blank white paper]

UNIT II: ANIME

Week 7 15 October: Anime 1 – Science Fiction and Fantasy View: Akira, Katsuhiro Ôtomo, 1988 (Japan) Read: Susan Napier, Anime, p. IX-83 Due: Critical Visual Essay 3 (post link to blog) + Discussion Question

17 October: Making Anime – Flipbook Animation Read: D’source, “Flipbook Animation,” (PDF) + https://youtu.be/xlZd_i09i0Y Lab: Making a Flipbook (present work at next lab session) [Bring pencil and/or pen and blank white paper]

Week 8 22 October: Anime 2 – Posthumanism View: Ghost in the Shell, Momoru Oshii, 1995 (Japan) Read: Susan Napier, Anime, p. 85-150 Due: Discussion Question

24 October: NO CLASS – midterm break

Week 9 29 October: Anime 3 – Myth and Meaning View: Princess Mononoke, Hayao Miyazaki, 1997 (Japan) Read: Susan Napier, Anime, p. 151-216 Due: Discussion Question

31 October: Making Anime – Simple Animation Apps Lab: Using simple animation apps (show in class at pitch session)

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Week 10 5 November: Anime 4 – Nation and the Transnational View: Grave of the Fireflies, Isao Takahata, 1987 (Japan) Read: Susan Napier, Anime, p. 217-294 Due: Discussion Question + Sign up for Critique Sessions

7 November: Project Pitch Session Due: Final Project Proposal (post on blog and pitch in class)

UNIT III: OTAKU

Week 11 12 November: Otaku Encyclopedia – Topics A through H View: The Animatrix, Various Animators, 2003 (Japan) Read: Patrick Galbraith, Otaku Encyclopedia, browse topics + interviews: AkihabaraÞGamer Due: Discussion Question

14 November: CRITIQUE SESSION 1 Due: Work-in-Progress Presentation (Check schedule for your day and time)

Week 12 19 November: Otaku Encyclopedia – Topics I through Z View: Your Name, Makoto Shinkai, 2016 (Japan) Read: Patrick Galbraith, Otaku Encyclopedia, browse topics + interviews: IdoruÞTarento Due: Discussion Question

21 November: CRITIQUE SESSION 2 Due: Work-in-Progress Presentation (Check schedule for your day and time)

Week 13 26 November: NO CLASS – Prepare for Final Presentations

28 November: NO CLASS – Thanksgiving Break

Week 14 3 December: Final Creative Project Presentations/Critique Session 1

5 December: Final Creative Project Presentations/Critique Session 2

Week 15 – FINAL PROJECT SUBMISSION 11 December: Final Exam Session – 12:00 PM Pacific Standard Time

Due: FINAL PROJECTS + WRITE-UPS (Post to Google Drive; link on course blog and email as PDF attachment)

End.

Alphonse Elric (with kittens) from Funko Pop! Vinyl

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Guides to Writing and Production in Media, Art, and Design

(Preferred editions are listed, but any edition will work – earlier editions of many of these books can be found cheap as used copies on Amazon. Also see guides under “writing & drawing” on course blog).

Research and Writing

A Short Guide to Writing about Film by Timothy Corrigan (Pearson, 2015)

The Elements of Style by Strunk and White (Pearson, 1999)

Manga, Anime, Japan

Manga by Nicole Rosemaniere & Matsuba Ryoko (Thames & Hudson/British Museum, 2019)

Mangasia: Definitive Guide to Asian Comics by Paul Gravett (Thames & Hudson, 2017)

Manga: The Pre-History of Japanese Comics by Nobyoshi Hamada (Tankobon, 2013)

Manga Artist’s Handbook by Junka Morozumi and Tomomi Mizuna (Tuttle, 2019) Complete Guide to Drawing Action Manga by Shoco and Makoto Sawa (Tuttle, 2019) Anime: A History by Jonathan Clements (British Film Institute, 2013)

A Geek in Japan by Hector Garcia (Tuttle, 2019)

Otaku: Japan’s Database Animals by Hiroki Azuma (U of Minnesota Press, 2009)

Kitaro by Shigeru Mizuki (Drawn & Quarterly, 2017-2018)

Gyo by Junji Ito (Viz Media, 2015)

Monster by Naoki Urasawa (Viz Media, 2014)

Mob Psycho 100 by ONE (Dark Horse, 2018)

AX: Alternative Manga, edited by Sean Michael Wilson (Top Shelf, 2010)

Design, Drawing, and Digital Media

The Non-Designer’s Design Book, 4th ed. by Robin Williams (Peachpit Press, 2014)

Design is Storytelling by Ellen Lupton (Cooper Hewitt, 2017)

Drawing on the Right Side of the Brain by Betty Edwards (Tarcher-Perigree, 2012)

Comics: As Easy as ABC by Ivan Brunetti (Toon Books, 2019)

Understanding Comics: The Invisible Art by Scott McCloud (Morrow, 1994)

iMovie: The Missing Manual by David Pogue and Andrew Miller (O’Reilly, 2014)

Animation, Film, and Video Production

Cartoon Animation by Preston Blair (Walter Foster, 1994)

The Animator’s Survival Kit by Richard Williams (Farrar, Straus and Giroux, 2012) Film Directing: Shot by Shot by Steven D. Katz (Michael Wiese, 2019)

Creativity

Learning by Heart by Corita Kent and Jan Steward (Bantam, 1992)

What it is by Lynda Barry (Drawn and Quarterly, 2008)

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Ten rules for creativity devised by Sister Corita Kent