The Mecha's Blind Spot: Patlabor 2 and the Phenomenology of Anime.
The giant "labors" (robots) and their human pilots featured in Oshii Mamoru's "mecha" anime "Patlabor 2" (1993) are split figures that reflect technology's power to magnify or enhance the human while simultaneously threatening dehumanization. In "Patlabor 2," these machines enhance perception while...
| Publicado en: | Science Fiction Studies Vol. 29; no. 3; pp. 453 - 475 |
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| Formato: | Artículo |
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University of California Press
Nov2002
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=9155772&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 9155772 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00917729 SFS jtl: Science Fiction Studies issn: 00917729 maglogo: N pubinfo: dt: Nov2002 vid: 29 iid: 3 pid: 414 pub: University of California Press artinfo: ui: 9155772 10.1525/sfs.29.3.0453 ppf: 453 ppct: 22 formats: fmt: @attributes: type: P size: 1.5MB tig: atl: The Mecha's Blind Spot: Patlabor 2 and the Phenomenology of Anime. aug: au: Bolton, Christopher su: Anime films Patlabor II (Film) Sobchack, Vivian Japan sug: subj: Japan Anime films Patlabor II (Film) Sobchack, Vivian ab: The giant "labors" (robots) and their human pilots featured in Oshii Mamoru's "mecha" anime "Patlabor 2" (1993) are split figures that reflect technology's power to magnify or enhance the human while simultaneously threatening dehumanization. In "Patlabor 2," these machines enhance perception while simultaneously creating new blind spots for the humans inside. Through his focus on vision (and its blind spots), Oshii's labors become figures that critique the related technology of mass media and what Vivian Sobchack's phenomenology of film defines as the electronic (as distinguished from cinematic) phase of visual culture. While some might contend that anime is itself part of this electronic milieu and therefore unable to mount such a critique, I argue that "Patlabor 2" makes its point by an oscillation between the electronic and the cinematic. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Science Fiction Studies is the property of University of California Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Science Fiction Studies holder: University of California Press dt: @attributes: year: 2002 holdings: @attributes: islocal: N |
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