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Results further indicate shared detailed settings as reality effects and shared depictions of real-world problems as truth effects, indicating common realism elements.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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the Degree of Master of Arts in the Graduate School of The Ohio State University  \nBy  \nGeorge Andrew Stey  \nGraduate Program in East Asian Studies  \nThe Ohio State University  \n2009  \nThesis Committee:  \nProfessor Richard Edgar Torrance, Advisor  \nProfessor Maureen Hildegarde Donovan  \nProfessor Philip C. Brown  \nCopyright by George Andrew Stey 2009  \nAbstract  \nCertain works of Japanese animation appear to strive to approach reality, showing elements of realism in the visuals as well as the narrative, yet theories of film realism have not often been applied to animation. The goal of this thesis is to systematically isolate the various elements of realism in Japanese animation. This is pursued by focusing on the effect that film produces on the viewer and employing Roland Barthes‟ theory of the reality effect, which gives the viewer the sense of mimicking the surface appearance of the world, and Michel Foucault‟s theory of the truth effect, which is produced when filmic representations agree with the viewer‟s conception of the real world. Three directors‟ works are analyzed using this methodology: Kon Satoshi, Oshii Mamoru, and Miyazaki Hayao. It is argued based on the analysis of these directors‟ works in this study that reality effects arise in the visuals of films, and truth effects emerge from the narratives. Furthermore, the results show detailed settings to be a reality effect common to all the directors, and the portrayal of real-world problems and issues tobe a truth effect shared among all. As such, the results suggest that these are common elements of realism found in the art of Japanese animation.  \nDedication  \nDedicated to the memory of Professor William J. Tyler, truly an irreplaceable mentor.  \nAcknowledgments  \nAbove all, I would like to thank Professor Richard Torrance for his continued aid and advice during the entire process of writing this thesis. I am also very grateful for his willingness to advise me on a subject outside of his specialty when it did not appear that anyone else would. Likewise, I would also like to thank Professor Maureen Donovan for her aid and for taking part in my committee. Furthermore, I would like to thank Professor Philip Brown for not only taking part in my committee, but playing a key role in my entire graduate education. Additionally, I want to thank Professor Etsuyo Yuasa for helping me perform research for this work using Japanese sources. Similarly, Instructors Ai Terada and Kaori Suzuki aided me in this regard as well, and I am deeply indebted to them. Finally, I am immeasurably grateful to Professor William J. Tyler for his years of support, guidance, and instruction throughout both my undergraduate and my graduate studies.  \nVita  \n2000……………………………………………Newark High School 2007-2009   Title VI FLAS Fellow 2009……………………………………………B.A. Japanese, The Ohio State University  \nFields of Study  \nMajor Field: East Asian Studies  \nTable of Contents  \nAbstract…………………………………………………………………………………...ii  \nDedication………………………………………………………………………………. iii  \nAcknowledgements……………………………………………………………………... iv  \nVita……………………………………………………………………………………….v  \nIntroduction………………………………………………………………………………1  \nChapter 1: Kon Satoshi…………………………………………………………………...6  \nChapter 2: Oshii Mamoru………………………………………………………………..17  \nChapter 3: Miyazaki Hayao……………………………………………………………...31  \nConclusion……………………………………………………………………………….50  \nReferences……………………………………………………………………………….54  \nIntroduction  \nAs opposed to American animation, European animation, and experimental forms of animation, certain works of animation in Japan seem to strive to approach reality, featuring elements of realism in visuals as well as subject matter. However, in contrast to live-action film, theories of film realism have rarely been applied to animation. Film theorists in Japan such as Azuma Hiroki have only recently touched on this subject.  \nVarious reas","cbCaidv7dctNLKHZ","https://ap.wps.com/l/cbCaidv7dctNLKHZ","pdf",353591,62,"English","# Introduction\n# Chapter 1: Kon Satoshi\n# Chapter 2: Oshii Mamoru\n# Chapter 3: Miyazaki Hayao\n# Conclusion\n# References","[{\"question\":\"What is the main purpose of the thesis on realism in Japanese animation?\",\"answer\":\"The thesis systematically isolates elements of realism in Japanese animation by analyzing how film affects viewer perception.\"},{\"question\":\"Which theories are used to explain realism effects in the films?\",\"answer\":\"The study applies Roland Barthes’ theory of the reality effect and Michel Foucault’s theory of the truth effect to connect viewer perception with film representation.\"},{\"question\":\"How do the results distinguish between reality effects and truth effects?\",\"answer\":\"Reality effects are argued to arise in the visuals of the films, while truth effects emerge from the narratives.\"}]","Elements of Realism in Japanese Animation - Thesis | PDF",156]