Kawaii Disney Characters

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Kawaii Disney Characters

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Discourses and Practices of Affect Control in European Antiquity, the United States, and Japan Ulla Haselstein, Irmela HijiyaKirschnereit, Catrin Gersdorf, Elena Giannoulis. mock childwriting; extensively researched by Yamane 1986, 1990). Disney characters fitted neatly into this local consumerist realm of the kawaii. Disney as kitsch is readily fused into Japanese kitsch culture (see also Moeran, 1983, 1989, 1993). Donald Richie (1991: 44) summed it up properly by suggesting that: According to Katzenstein (1989: 135), "the Disney characters epitomize the cloying cuteness, called kawaii, so endearing to the Japanese." Kawaii essentially means childlike; it celebrates "sweet, adorable, innocent, pure, simple, vulnerable,

weak.and inexperienced social behavior and physical appearance" (Kinsella 1995: 220). This style is not restricted to OLs, although it has certainly been elaborated by them. Several idioms — like kawaiiko burikko (or "mock cutiepie," pretending From Woodblock and Zen to Manga and Kawaii Natalie Avella. in .u I 1 I ~ I I Kawan: \ i *. the. character. licensing. industry. The mascot also affects you: it gives you a sense of membership in the group that likes and identifies with that character. And, even though the West generates many of its own cute characters (Walt Disney characters, Winnie the Pooh, Brambley Hedge, Wallace and Gromit, and so on), the biggest license market is Japan and the Japanese audience of adults

as Proceedings.of the AHFE 2016 International Conference on Affective and Pleasurable Design, July 2731, 2016, Walt Disney World®, Florida, USA WonJoon Chung, Cliff Sungsoo Shin. written in Heian period. In these literatures, “Kawaii” implied something tiny or weak [1]. In recent years, deformed plastic models and figures of characters are popular in Japan. They possess relatively large heads and small bodies with short limbs. Such babylike shaped models give “Kawaii” dignity and upright character that will help even the “little fellow” to be relatively successful in life are puritan and incompatible with any coolkawaii scheme. Disneyland was supposed to be a bulwark against the disease of the 1950s society whose

ideas.were cool in many respects. Disneyland represents a safe and clean environment where you can't get lost. Cool and kawaii, on the other hand, are modern because, in addition to Disney's antiestablishment strategy helping modest Therefore it is a very different perspective in comparison to the one that made us imagine kawaii culture as marginal and in opposition to society. The idols of show business, and even the simplest girls (like the salesgirls of important stores, called karisuma, 'charisma', because they dictate new trends), are a propositional and highly productive reality.4 a hypercon sumerist and technologicallydeveloped society like the Japanese one evidently needs the resources of kawaii culture

to In.India, Kawaii elements in its culture are reflected in its various mythical literary masterpieces such as Ramayana,27 an ancient Sanskrit epic dated from 500–100 BCE, in which a human/monkey character (Hanuman) coveys all cute attributes. Today, Indian artists are introducing a baby version of the monkey, appropriately named Baby Hanuman, as an animated figure. Some of the leading artists in Indian cinematic art have cultivated an image of cuteness that is immensely popular 42 Kawaii is also a marked commercial trend, pervading Japanese merchandizing, comics, and animation. In 1971, the firm Sanrio launched into the cute stationery market. Sanrio«s Hello Kitty, created by Shimizu Yûko, was introduced three years later.

She.was all white and her head was disproportionately larger than her body; she had a red bow on her ear and no mouth. Hello Kitty became the uncontested queen of Japanese merchandising. The character, soon surrounded by Kawaii aesthetics and anime The breadth and character of the kawaii aesthetic is much debated within the academic sphere and challenges theorists for whom 'cute' does not properly convey its conceptual Japanese understanding. Napier argues that '[anime's] complex story lines challenge the viewer used to the predictability of Disney while its often dark tone and content may surprise audiences'.10 The anime boom of the 1990s in Australia and the United States located this Also the design of

Disney.characters themselves contributes to the enormous consumption of Disney merchandising in Japan. Especially many young Japanese women are extremely fond of everything that is kawaii (cute). The term kawaii most often describes items that are tiny, soft, of round shape and have bright colors such as light pink or light blue.21 Disney 20 This is true as well for popcorn buckets with differently flavored popcorn, available in different sections of the park.

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