UDK 7 Искусство. Декоративно-прикладное искусство. Фотография. Музыка. Игры. Спорт
GRNTI 13.00 КУЛЬТУРА. КУЛЬТУРОЛОГИЯ
OKSO 50.00.00 Искусствознание
BBK 8 ФИЛОЛОГИЧЕСКИЕ НАУКИ. ХУДОЖЕСТВЕННАЯ ЛИТЕРАТУРА. ИСКУССТВО. РЕЛИГИЯ. ФИЛОСОФИЯ. ПСИХОЛОГИЯ
TBK 8 ГУМАНИТАРНЫЕ НАУКИ. РЕЛИГИЯ. ИСКУССТВО
BISAC ART ART
This article is devoted to the study of the implementation of the principles of postmodernism in the work of the Japanese animator Satoshi Kon on the example of his latest work "Paprika". The article presents an analytical review of the scientific literature related to the chosen topic. The study analyzed the postmodern techniques used by Satoshi Kon in his animated film, as well as the analysis of references and quotations, the abundance of which also allows us to attribute "Paprika" to examples of postmodern animation.
Postmodernism, Satoshi Kon, "Paprika", intertextuality, meta-narrative, animation art
1. Alam, I. Features of Postmodernism in the Movie Brave, 2015. Available at: https://www.academia.edu/33910125/Features_of_Postmodernism_in_the_Movie_Brave
2. Arriola, J. Cinema as Historiographic Metafiction: The Postmodern Rizalian Texts // CIS Journal for the Arts, Culture and the Humanities, 2003, 2, pp. 43-58.
3. Brannon, C. E. Postmodern film adaptation, 2004. Available at: https://core.ac.uk/download/pdf/6086083.pdf
4. Carew A. Dreams and nightmares: The animated worlds of Satoshi Kon // Metro Magazine: Media & Education Magazine, 2020, 205, pp. 68-75.
5. Dai, Hongbin & Huang, Yini. Metafiction and Postmodernism, 2017,https://doi.org/10.2991/emim-17.2017.13.
6. Degli-Esposti, C. Postmodernism in the Cinema. 1st ed., Berghahn Books, 1998. JSTOR. Available at: https://doi.org/10.2307/j.ctv287sghp
7. Dlugauskas, E., Paulikiene, G. The First Woman of Oedipus or the Metamorphoses of the Sphinx in Art. // European Psychiatry, 2015, 30(1), P. 1533.
8. Elias, A. Postmodern metafiction. In J. Duvall (Ed.) // The Cambridge Companion to American Fiction after 1945 (Cambridge Companions to Literature,). Cambridge: Cambridge University Press, 2011, pp. 13-29.
9. Furniss, Maureen, ed. Animation: Art and Industry. Indiana University Press, 2012. Available at: http://www.jstor.org/stable/j.ctt16gz6nm
10. Gardner, W. O. The cyber sublime and the virtual mirror: information and media in the works of Oshii Mamoru and Kon Satoshi // Canadian Journal of Film Studies, 2009, 18(1), pp. 44-70.
11. Mishra, M. Animated worlds of magical realism: An exploration of Satoshi Kon’s Millennium Actress and Paprika // Animation, 2014, 9(3), pp. 299-316.
12. Napier, S. “Excuse me, who are you?”: Performance, the gaze, and the female in the works of Kon Satoshi // Cinema anime: Critical engagements with Japanese animation. New York: Palgrave Macmillan US, 2006, pp. 23-42.
13. Ogg, K. Lucid dreams, false awakenings: Figures of the fan in Kon Satoshi // Mechademia, 2010, 5(1), pp. 157-174.
14. Silverman, H. J. The Mark of Postmodernism: Reading Roger Rabbit // Cinémas, 1995, 5(3), pp. 151-164. Available at: https://doi.org/10.7202/1001152ar
15. Teodorescu, A. Blurring the screen: the fragmented self, the database, and the narratives of Satoshi Kon // Ekphrasis (2067-631X), 2016, 15(1), pp. 63-74.
16. Tomos, Y. The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii. 2014.
