Animation, Branding and Authorship in the Construction of the ‘Anti-Disney’ Ethos: Hayao Miyazaki’s Works and Persona through Disney Film Criticism

Abstract

Walt Disney (1901–1966) is one of the most important figures in the history of cinema, but he may also be one of the most criticized. Adjectives referring to Disney in their different forms (‘Japanese Disney’, ‘Asian Disney’, ‘Disney from the Orient’, etc.), have also been applied to the analysis of Japanese animator Hayao Miyazaki (1941–). Disney’s legacy has been reviewed and examined through different theoretical lenses derived from cultural studies and film criticism. In contrast, scholarship and cultural criticism have decoded Miyazaki’s works in terms of auteurism. These approaches also emphasize similarities based on high quality of production and individual signatures while differentiating between ideological and cultural readings of each author’s legacy. In this construction of what has been referred to as ‘anti-Disney’, the most common strategies of classical auteurism act together, including the mythical construction of the creator’s persona through cultural criticism and other film paratexts. In order to better understand the role of authorship in animation, a distinction between brand, style and creator’s persona is suggested.

The Creation and Operation Strategy of Disney’s Mulan: Cultural Appropriation and Cultural Discount

“…The interpretation of Disney films can be made from a variety of theoretical perspectives such as cultural criticism and film criticism. Academic and cultural criticism mainly interprets works from the perspective of directorism, emphasizing similarities based on high-quality works and personal signatures, and consciously differentiating between brand, style, and the role of creator [6].…”

Discussing ‘Genre’ in Anime through Neon Genesis Evangelion

“…(Anno 1996b: 12) Anno's strong personality has been emphasized by many as the main reason for the series' singular style and narrative (Azuma 2016;Watanabe 2001: 148). But, as in other cases of authorship in the world of Japanese anime, personality as an author takes the form of 'persona,' a mask (Hernández-Pérez 2016), and this can easily shadow other readings of anime as a collaborative medium. Anno himself has contributed to the construction of this mask through numerous paratexts, such as biographical and autobiographical notes, interviews and media reviews.…”