1. Fairy Tales, Animation and Nostalgia: Norstein and Miyazaki Fairy Tales in the Modern World

2. Subversive potential of animation ‘animation as a film language and film art is a more sophisticated and flexible medium than live-action film, and thus offers a greater opportunity for film-makers to be more imaginative and less conservative... The animated film enables the film-maker(s) to be more expressive and thus more subversive than is readily acknowledged. (Wells, 1998: 6)

3. Auteurism ‘An approach to film analysis and criticism that focuses on the ways in which the personal influence, individual sensibility, and artistic vision of a film’s director might be identified in their work’ Annette Kuhn and Guy Westwell, Oxford Dictionary of Film Studies, Oxford, 2012, s.v. ‘authorship.’

4. Classifying Animation

5. Japanese manga and anime Japanese animation anime) owes much to comic books (manga) Ground breaking 1963 anime Astro Boy [aka Mighty Atom] began as manga published from 1952 by Osamu Tezuka Elements of Pinocchio plot

6. Astro Boy (1963) http://www.youtube.co m/watch?v=t0zfgWHM 9QU&feature=related http://www.youtube.co m/watch?v=t0zfgWHM 9QU&feature=related ‘Limited’ Style of animation in which only one element of the image moves Creates fluid movements

7. Folkloric elements in Japanese Animation Tale of the White Serpent, 1958 Magic Boy, 1959

8. Spirited Away (2001)

9. Hayao Miyazaki ‘encounter with a magical Other’ (Cavallaro p. 5) Memory, tradition

10. Fairy Tales and Environmentalism ‘I’ve come to the point where I just can’t make a movie without addressing the problem of humanity as part of an ecosystem.’ (Hayao Miyazaki, 1997) Princess Mononoke, 1997

11. Japanese references No-Name resembles Noh Mask

12. Japanese Tradition 2 - Architecture

13. Rite of passage renegotiation of gender boundaries – Japanese cult of shojo, sweet young heroine not yet constrained by adulthood. fairy tale heroines often orphaned, but Miyazaki’s heroines actively independent to unusual degree (Napier, Anime, 2005: 155) Rite of passage to ethical responsibility

14. In Spirited Away – Fairy Tale Narrative (to be explored in seminar)

15. Lev Atamanov, The Snow Queen (1957)

16. Iurii Norstein, The Tale of Tales (1978) It seems to me that one of animation’s strengths comes when we perceive an imperfect match between representation and action. There may be only a line on the screen, but if a second line goes up to it and tickles it, then this already gives it life, and we perceive it as an animate being. (Norstein, Snow on the Grass, 2005, p. 163)

17. Grey Wolf Lullaby Баю-баюшки-баю, Не ложися на краю - Придет серенький волчок, Тебя схватит за бочок И утащит во лесок Под ракитовый кусток. Don’t lie on the edge of the bed or the little grey wolf will come grab you by the tummy and take you to the wood to the pussy willow bush

18. Fairy Tale elements in Tale of Tales Story encompassing others Magic fish; talking (singing) wolf Magical transformation But one of a number of strategies evoking naive character of childhood nostalgia

19. Nostalgia ‘nostalgia...longing for something that is known to be irretrievable, but it is sought anyway... Rooted in disavowal... associated with fantasy’ ‘Even though memory is suffused with subjectivity, it can still be regarded as authentic.... a record’ (Cook, p. 3) History-memory-nostalgia a continuum