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The discussion argues that the trope functions through mediation rather than simple representation, drawing on Naoki Sakai’s critique of mono-ethnic myths and his reading of Tanabe Hajime. It reframes species-thinking as a mechanism of biopolitics and “spacing” that shapes circulation of images and distribution of 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Sinclair","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-19","2026-08-21",true,{"@type":102,"interactionType":103,"userInteractionCount":52},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"How does wartime Japanese animation depict peoples through animals?","Question",{"text":112,"@type":113},"It frequently represents Japanese soldiers and colonized or imperial subjects as animal types, such as dogs, tigers, monkeys, pigs, and other region-linked animals.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"Why is the animal association not just “naturalization” of ethnicity or nation?",{"text":117,"@type":113},"Because mediation and the specificity of animation complicate direct one-to-one representation, operating through interval-like “spacing” in the circulation of images and populations.",{"name":119,"@type":110,"acceptedAnswer":120},"What does Sakai’s critique add to interpreting these animations?",{"text":121,"@type":113},"Sakai’s work challenges simplistic binaries and shows nationalism’s dialectical tension between particularism and universalism, enabling attention to mediation and political implications rather than purely representational readings.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},135648,1787316607,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":52,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":129,"read_time":41},1099523882182,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","# 4 The biopolitics of companion speciesWartime animation and multi-ethnicnationalism\n\nThomas Lamarre  \nIn Japanese wartime animation,Japan's enemies and colonized peoples fre-quently appear in animal form.In animated versions of the manga Norakuro(Stray Black)produced in the 1930s,for instance,there is a dog regiment thatstands in for Japanese soldiers,and the dogs do battle with tigers,monkeys,and pigs who apparently represent peoples,races,or nations within the Japa-nese empire.In animated films based on the folklore character Momotaro(Peach Boy)produced between 1931 and 1945,animals common to Japan(monkeys,dogs,pheasants)serve as Japanese soldiers,while peoples ofJapan's conquered territories take the form of animals indigenous to thoseregions.  \nAt first glance,such an association of peoples with animal species seems topresent nothing more than a naturalization of ethnos,race,or nation.Afterall,insofar as a dog does not choose to be a dog,depictions of the Japaneseregiment as a dog regiment would seem to naturalize Japaneseness,to make itappear as a natural classification,a given,an ontological condition orempirical fact.As such,the transformation of peoples into animal species inwartime animation seems designed to avoid a confrontation with the negativ-ity and mediation inherent in nationalism that Naoki Sakai has repeatedlyshown to be one of the central concerns of Kyoto School Philosophy ofroughly the same period,particularly in his discussion of the essays of TanabeHajime gathered in a volume entitled Shu no ronri or “The Logic of Species”(Sakai 2000).Animal species in wartime animation might appear to imply animmediate,unmediated,positivistic belonging to an ethnos,race,or nation.  \nThere is nonetheless a sort of negativity at work in the dynamics of animalspecies in wartime animations.There is mediation of ethnos or nation.Butsuch negativity is not apparent if we read these animations exclusively at thelevel of representation,if we assume that dogs unambiguously represent theJapanese,for instance,and completely ignore the specificity of animation.This is where Sakai's work on Tanabe Hajime and“The Logic of Species”proves crucial,not because it addresses the specificity of animation per se,butbecause it forces us to move beyond a simplistic analysis of representationand to take a closer look at mediation,which in turn leads to a considerationof media(animation).  \nPhilosophy and animation differ profoundly in their treatment of species,and I will gradually draw a contrast between them at the level of their poli-tical implications.Where Sakai carefully excavates a politics of national sub-jectivity and sovereignty from Kyoto School Philosophy,I find in wartimeanimation something closer to Michel Foucault's discussion of security andbiopolitics.Which is to say,in animation,mediation is not so much a matterof the negation of the subject (that produces and promises to stabilize thenational subject),but of a“spacing”or material interval that tends to act atthe level of the circulation of images and the distribution of populations.  \n## The logic of species\n\nOne of the hallmarks of Naoki Sakai's work is a sustained critique of thepostwar myth of Japan as a mono-ethnic society,a myth that finds popularexpression in Nihonjinron or discourses on Japaneseness,discourses that stressthe uniqueness of being Japanese.Unlike most critics of Nihonjinron,who arecontent to signal the excesses and exclusionary tendencies of Japanese cul-tural nationalism as mono-ethnic nationalism,Sakai deliberately avoids anddirectly challenges the received critiques.His work shows how the receivedcritiques remain content to take issue with mono-ethnic nationalism,that is,particularism,while accepting universalism,typically in the form of Westernor American multi-ethnic nationalism.In other words,the received critiquesrely on an opposition between particularism and universalism,in a variety offorms.In one of his key essays,for instance,a study of Kyot","cbCainVQlT5zebhq","https://ap.wps.com/l/cbCainVQlT5zebhq","pdf",3134100,12,"English","# The biopolitics of companion species\n## Wartime animation and multi-ethnic nationalism\n## The logic of species","[{\"question\":\"How does wartime Japanese animation depict peoples through animals?\",\"answer\":\"It frequently represents Japanese soldiers and colonized or imperial subjects as animal types, such as dogs, tigers, monkeys, pigs, and other region-linked animals.\"},{\"question\":\"Why is the animal association not just “naturalization” of ethnicity or nation?\",\"answer\":\"Because mediation and the specificity of animation complicate direct one-to-one representation, operating through interval-like “spacing” in the circulation of images and populations.\"},{\"question\":\"What does Sakai’s critique add to interpreting these animations?\",\"answer\":\"Sakai’s work challenges simplistic binaries and shows nationalism’s dialectical tension between particularism and universalism, enabling attention to mediation and political implications rather than purely representational readings.\"}]","The Biopolitics of Companion Species - 4 - Wartime Animation and Multi-Ethnic Nationalism | PDF"]