Download Anime Fan Communities: Transcultural Flows and Frictions by Sandra Annett (auth.) PDF

By Sandra Annett (auth.)

ISBN-10: 1137476109

ISBN-13: 9781137476104

ISBN-10: 1349502758

ISBN-13: 9781349502752

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Eric Loren Smoodin, in his book Animating Culture: Hollywood Cartoons from the Sound Era makes a similar point about the very structure of 1930s American cinematic exhibition. In his argument, film screenings, being organized into a “film bill” of the sort Porky Pig watches which includes news, cartoons, shorts, and features on all kinds of topics and characters, aimed to create a “democratic space, one that offered something for everyone, a kind of entertainment utopia” (1993, 60). As he also notes, however, the “cinema bill managed diversity by asserting it; in other words, differences—of race and class, and also different kinds of culture—could be made to disappear, replaced by a sense of aesthetic wholeness” (60): a melting pot ideology.

Disney’s “The Autograph Hound” goes even further in showing Donald Duck as an avid film fan who attempts to get autographs from his favorite stars while evading a surly security guard. All of the stars play comical tricks on him except for little Shirley Temple, who recognizes him and points out that he is the great Donald Duck. In a satisfying reversal, it is now Donald who is buried in a pile of autograph books, as those who formerly mocked him beg for his signature. As in “Mickey’s Gala Premier,” in which Mickey Mouse is feted by everyone from Charlie Chaplin to Greta Garbo, these shorts reflect the glamor of Hollywood and suggest that the fan can be a part of it too.

More particularly, the Fleischers’ works were embedded in the cultural climate of Lower East Side Jewish immigrant neighborhoods. In her article, “Betty Boop: Yiddish Film Star,” Amelia S. Holberg argues that along with the language of the Hollywood-style musical cartoon, “Betty’s cartoons also spoke the language of the Yiddish cinema. ” In this way, “the Fleischer cartoons are a prime example of a unique moment in American cinema in which a product aimed at a 38 ANIME FAN COMMUNITIES mass audience also reflected the concerns and culture of another cinema audience altogether—the audience for the alternative Yiddish cinema” (1999, 302).

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Anime Fan Communities: Transcultural Flows and Frictions by Sandra Annett (auth.)


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