Tags
1980s, Animation, Anime, Blogathon, Descartes, Drama, Dystopian, Philosophy, Post-Apocalyptic, Sci-Fi
Chris from Blog of the Darned hosts The Blogathon From Another World, April 9–10, 2016 a celebration of science fiction cinema.
Darling readers, if you follow me regularly, then you know there’s a crazy dichotomy here at Serendipitous Anachronisms. There are only two types of media I like jolly fluff and movies that require annotation by several opposing branches of philosophic academia, and an intense four-hour post-viewing discussion preferably with bottomless cups of tea.
Well, it’s time to put on our thinking caps and sexy professor glasses, kiddos, today we are exploring Otomo Katsuhiro’s 1988 film AKIRA.
AKIRA is a ground-breaking film with a huge following, it is the first anime feature film intended for an adult audience shown in the US. While a financial failure in Japan, AKIRA became immediately successful with international audiences and remains one the seminal works of anime. AKIRA saved the anime industry single-handedly, per JETRO Japanese External Trade Organization, Japan is the world’s largest exporter of comics and animation, with an annual rate of over $375 million of sales of anime DVDs in the U.S. & Canada alone. Before AKIRA, American audiences had little exposure to anime.
AKIRA features amazing artistry and details. Remember, this film pre-dates computer animation, according to IMDB:
The movie consists of 2,212 shots and 160,000 single pictures, 2-3 times more than usual, using 327 different colors (another record in animation film), 50 of which were exclusively created for the film.
But what makes AKIRA special is not its stunning visual impact, the narrative is both complex and thought-provoking.
Plot
There are excellent AKIRA posts, so I will forego the longer description here. AKIRA‘s plot is simple. During the late 1980s, the Japanese government conducted psychic experiments on children to create super weapons. An experiment with a child named Akira went dangerously awry. The Japanese government dropped an atomic bomb on Tokyo to protect itself. Thirty years later, the rebuilt city Neo-Tokyo struggles in the way that most post-apocalyptic communities survive, street gangs, drug dealers, martial law, anti-government activists, and shady governmental officials with secrets, oh so many secrets, throw into the mix racing motorcycles, and superannuated children with extreme psychic capabilities. In AKIRA, Tetsuo a young boy with hidden psychic powers becomes controlled by a powerful and violent non-corporeal child-like entity Akira. Tetsuo is abducted and held under military control, Tetsuo’s friend Kaneda tries to rescue him.
But like much great anime, AKIRA‘ s plot is secondary to its message.
The Shadow of Hiroshima
According to scholar Chris Goto-Jones, Japanese science fiction narrative differs from Western science fiction. Whereas Western science fiction often focuses on exploration, Japanese science fiction is “masochistic …reinforcing the psychological damage of the defeat and the apocalyptic nature of the defeat” (15). In AKIRA, dangerous technological advances and weaponry force Japan to destroy its city in another atomic blast. AKIRA’s post-apocalyptic environments exhibit obvious parallels to scars from World War II. During WWII the U.S. dropped 20,000 Napalm bombs on Japan, Nagasaki and Hiroshima are the only sites ever to be a victim of atomic weapons. Following World War II, as part of Japan’s peace treaty, they were no longer allowed to have a military. The demilitarization resulted in an emasculation of the Japanese people. Artist Takahashi Murakami writes:
Our society and hierarchies were dismantled. We were forced into a system that does not produce adults. -Superflat
A kawaii culture replaced the removed military power. Kawaii is a “cuteness mingled with pity”, but it also represents soft power. Emperor Hirohito exhibits military kawaii. Hirohito appeared diminutive alongside General MacArthur and referred to as a little boy, but Hirohito had great military power.
If we look at Japanese cultural artifacts, it is evident that Japan as a country clings to the “little boy” image resulting from the post-World War II treaties.
The world of AKIRA is similar to Japan in many ways, but the most obvious similarity is the period of recovery after an atomic blast. Placing AKIRA in the future after World War III allows its filmmakers enough distance to comment on Japan in the 1980s without making an obvious connection.
AKIRA shows a militarized Japan 30 years after a deadly atomic blast, the film’s weapons are “Kawaii”, children with dangerous psychic abilities. The film also demonstrates soft-power with “Tetsuo”. He is the runt of the litter, the little guy, the bullied one even within his social circle. Within Tetsuo is a dormant and intense destructive force.
AKIRA in literal terms demonstrates the harsh and violent transition between childhood and adulthood.
If we consider Japan a country with a child-like identity, then we should consider what AKIRA might represent. It is a story about growth and change. As Tetsuo becomes powerful, he becomes corrupted. His power becomes his destruction.
In this context, AKIRA can be interpreted as a warning.
In the 20th century, Japan’s economy progressed at an astonishing rate, a parallel society to AKIRA‘s superannuated children, who have gained much wisdom and power, yet in many ways unable to control the power at their fingertips.
By 1988, Japan experienced the tale-end of the Bubble Economy, a 30-year economic growth spurt and headed direct for an economic crash, this crash would have devastating consequences for the Japanese people, the grossly inflated housing market left homeowners with homes worth 1% of their original sale prices.
While the crash would not occur until 1991, hindsight is 20-20, and one cannot help but sense a warning of too much power in AKIRA.
SPOILERS: “I am Tetsuo”
Sorry but we cannot talk about AKIRA without talking about the end! But I promise, knowing the end will not spoil the film. One of the film’s most puzzling aspects is its ending. Tetsuo becomes engorged and monstrous ultimately consumed and dissolved by Akira. While it appears that Akira has won the battle the film ends with a disembodied voice saying “I am Tetsuo”. In Anime and Philosophy, Benjamin Stevens uses a Cartesian lens to explore disembodied sentient beings.
For 17th Century Philosopher René Descartes, the proof of the undeniable truth of existence is determined by thinking. Despite all other doubts of his existence, in order to think, he is “a thinking thing” (Descartes, 109). This concept Cogito Ergo Sum or “I think, therefore I am” is shorthanded as the “Cartesian Cogito”: human identity is defined by thought action.
Therefore, by stating “I am Tetsuo” Tetsuo survives. But who or what is saying it?
Stevens identifies the Akira/Tetsuo as a posthuman entity. Tetsuo is absorbed by Akira, yet at the end Akira says, “I am Tetsuo”; thus a being that thinks, yet it is not Tetsuo though it thinks it is Tetsuo. AKIRA challenges this modality, justification of existence via thinking.
So what the heck does this film mean?
Existence moves beyond humanity. Though the physical body experiences destruction, something survives. Perhaps AKIRA offers its audience hope. Devestation and destruction is not the end, but a new beginning. If you have the time, watch AKIRA, I would love to know what my darling readers make of this great film.
If you love science fiction, check out all the other great posts at #BlogathonFromAnotherWorld!
In the meantime, enjoy AKIRA!
Ciao for Now, dearies!
Works Consulted
Azuma, Hiroki. Otaku: Japan’s Database Animals. Trans. Jonathan E. Abel and Shion Kono. Minneapolis: University of Minnesota Press. 2009. Print.
Descartes, Rene. The Method, Meditations, and Selections from the Principles of Descartes. (Trans. John Veitch).7th Edition. London: William Blackwood and Sons. 1880. Google Books. Web. 10 June 2010.
Goto-Jones, Chris “Anime, Thought Experiments, and the Limits of the Human.” AsiaScape.Net. 2007. Web. 19 Mar 2010.
Matsui, Takeshi. “The Diffusion of Foreign Cultural Products: The Case Analysis of Japanese Comics (Manga) Market in the US.” Princeton University Working Paper Series. 37 (2009) 1-28. Web. 17 June 2010.
Murakami, Takashi. Little Boy: The Arts of Japan’s Exploding Subculture. New York: Japan Society, 2005. Print.
Stevens, Benjamin. “I am Tetsuo.” Anime and Philosophy: Wide Eyed Wonder. Ed. Josef Steiff and Tristan D. Tamplin. Chicago, IL: Open Court, 2010. Print.
“Trivia.” IMDb. IMDb.com, n.d. Web. 09 Apr. 2016.
Watanabe, Morio. “Imagery and War in Japan.” Perilous Memories: The Asia-Pacific War(s). Ed. Takashi Fujitani, Geoffrey M. White, and Lisa Yoneyama. Durham, NC: Duke UP, 2001. Print.
B Noir Detour said:
I love Akira in so many ways. It introduced me to anime. It’s excellent cyberpunk. The implications of the bomb in all the images of mutation. Also, I got to see some of the original drawings and cels at a touring exhibit at an anime con in Atlanta a few years back. Finally, watching Akira makes for a great drinking game: Everytime Kaneda yells TETSUO! you drink. (It led to some serious canoodling with the guy who would become my husband.)
Thanks for your great post.
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Summer Reeves said:
Thank you for such a kind compliment! It is a fantastic film, seeing the cells must have been pretty spectacular! The artwork is amazing.
As for the drinking game, Kaneda yells “TETSUO!” way too much, I’d be passed out ten minutes into the film. 😉
Summer
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Chris Sturhann said:
I love Akira too. It was the first time we got to see anime in the theater. At the time, watching anime, meant going to Comic-Con or the local anime club. There was one that met one Saturday a month in one of the big lecture halls at SDSU. The selections were often third or fourth generation dubs from VHS with no subtitles.
At the time, Epic Comics, an imprint of Marvel was doing color reprints of the manga, and it was one of the best things on comic book store shelves. The Otomo artwork in both the manga and anime is spectacular. Seeing it on the big screen on film with real subtitles was incredible. It was awesome.
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Summer Reeves said:
Hey Chris- AKIRA on the big screen sounds fantastic, what a great event!
I would have loved to been part of the underground collector secret anime scene, it sounds so cool!
You are very lucky to experience that presentation, while the video quality was low I am certain the sense of exclusivity heightened the event.
Thanks for hosting a cool event, I look forward to reading everything this weekend.
-Summer
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Joshua Wilson said:
Summer, have you read the epic Manga? I tried to begin it at one time but I don’t think I made it past the second or third volume of at least 6. If I’m not mistaken, there is a lot more story in the manga, based on skimming a glance through the volumes.
I’ve only seen the film once, but I definitely want to revisit it, especially after reading your post.
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Summer Reeves said:
Hi Joshua, Thanks for your kind compliment! If you watch it again I would love to know what you think.
I have not read the manga version of AKIRA, it has been on my to read list for years. But I understand the film is just the tip of the iceberg as far as the Akira story goes and I am certain reading it would probably alter my perception once again!
😉
Summer
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The Telltale Mind said:
Great film. Fantastic post!
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Summer Reeves said:
Thanks!
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girlsdofilm said:
Summer, your blog is one of my favourites. Your posts and analysis are always a joy to read, regardless of how familiar I am with the film (in this case, not very). I’ve definitely spent more time reading about this film than watching it, which isn’t quite the right way round 😉
One thing I’ve always wondered about is how AKIRA is viewed in Japan. Is it heralded as a saviour, or a film that ended up diluting the purity of anime? (Not exactly sure if you have an answer to that – it’s more of a thought!)
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Summer Reeves said:
Thanks Vicki!
My understanding is that AKIRA is less of a “big deal” with Japanese audiences.
Fabulous question, to be honest I do not know too much about the anime industry from a Japanese business perspective.
I think there are a lot of factors at play here.
I know that Studio Ghibli was the only financially sound studio during the mid-1980s. I think John Lassiter’s uniting Disney with Studio Ghibli is probably heralded more as an “industry savior/diluter” per se. But Ghibli was already financially sound and going to survive no matter what happened in the rest of the industry.
I grew up in Germany, many of the cartoons in Europe were dubbed Japanese imports, when we moved to the US I saw much of the same over here, many Western audiences were raised ready to embrace anime’s subsequent mass-export.
It is AKIRA that brought Western attention to adult (by adult I do not mean porn, I mean focused toward an adult audience) anime, and the “gateway drug” it left Western audiences wanting more.
I believe AKIRA resonates so strongly with Western audiences because it is the first Japanese anime film not aimed toward children shown over here. So it ‘s importance in the West primarily stems from it being the first, rather than the film’s specific importance.
THAT SAID, AKIRA is an amazing cinematic feat from the animator’s perspective, the entire film is made from hand painted cells and the background detail in this film is incredible.
While the film’s plot is convoluted and strange (to say the least), it is worth watching for the sheer artistry.
Hope you get a chance to check it out!
Summer
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