Festival of Magic: A Film Festival Proposal

Kayson Carlin

Browning

Film 2620

6 April 2017

Festival of Magic

Animated movies have been made in nearly every major country with a film industry. Dating back to the early 19^th century, animation has been used to not only create spectacular visuals but to tell a narrative, or story as well. The technique of animating images progressed differently in parts of the world, but none quite as uniquely as Japan. There’s a name for this distinct style – anime. Unlike the common western idea that all animated pieces are meant for children, anime is intended for any age group whether it be housewives or salary men, and is widely accepted. From emulating Walt Disney’s early cartoons to exploring modern socio-economical issues, anime has evolved to become the most popular medium used today in Japan. So much so, that it is making its way across the ocean to the United States. Within the last 20 years anime has exploded from a niche hobby, to a worldwide phenomenon.

Anime contains many different genres and sub-genres, but one of the most prominent is a genre known as “mahou shoujo” or magical girl. This genre originated in Japan in the early 60s, and although it has found footing in other countries, it is still uniquely Japanese. Though there are girl superhero films in the west, magical girl anime films feature elaborate transformation sequences and characters with more girlish, feminine appeal. These films are generally produced for young girls and features a “feel good” atmosphere. Themes of magical girl films tend to include love, friendship, magic, and happiness. There are, of course, later magical girl films that challenge not only the common ideas, but the entire construction of the genre.

I would like to propose a film festival dedicated to this particular form of magical girl heroines. The Festival of Magic, as it is named, will feature six main films that represent mahou shoujo in Japanese cinema from the early beginnings to modern interpretations of the genre. This festival is meant to broaden cultural understanding of world cinema, specifically Japan, and what makes it unique.

Sally the Witch (Yokoyama 1966)

This 1966 film focuses on, Sally, a young princess from a magical world who mistakenly teleports herself to Earth. After using her power to defend two school girls from robbers, she befriends them and decides to stay on Earth. She must keep her magical powers a secret, or else her grandmother will force her to return to her own world and ascend the throne.

Sally the Witch is considered to be the earliest mahou shoujo anime ever produced, as well as one of the first colorized anime. Given that it is a precursor to modern mahou shoujo, there are elements that serve as a basis for future films such as the theme of friendship, secret identities, and princesses. Even widely recognizable tropes such as a small animal companion have started from here. Sally the Witch is point zero from which the entire genre of magical girls has stemmed from, making it an absolute must watch.

Magical Angel Creamy Mami (Kobayashi 1983)

Magical Angel Creamy Mami centers on 10-year-old Mami who stumbles upon an alien creature in distress and lends her assistance. As thanks, the being gives her a magic wand that, along with powers, can turn her into a teenager whenever she wishes. After discovering she can sing, her teenage persona is scouted by a talent agency and is thrown into the world of show business.

Creamy Mami introduced the aspect of girls magically becoming a “grown up version of themselves” as well as incorporating idol singers, both of which became popular tropes later on, evident by anime such as Fancy Lala (Omori 1988), Searching for the Full Moon (Tanemura 2002), and Lilpri (Moriwaki 2010). By portraying girls capable growing into successful “adult” women, it empowered young girls to reach for their own success and independence. They saw themselves not only in the child Mami, but idol Mami as well as what their potential could be if they followed their dreams. It was around this time that major laws for women’s rights were passed in Japan, such as the Convention on the Elimination of All Forms of Discrimination Against Women (United Nations). From this point on, anime was inextricably linked to idol singers, a trend which continues today.

Sailor Moon: Black Dream Hole (Shibata 1995)

The cornerstone of the magical girl genre, as well as anime in general, is the worldwide sensation, Sailor Moon. Originally produced in the 90s, it is still prominent 25 years later. The concept follows a middle schooler named Usagi who receives a magical brooch that turns her into the guardian of love and justice, Sailor Moon. While protecting the earth, she meets and befriends other Sailor Guardians and together, they search for their long-lost leader, Princess Serenity. What makes Sailor Moon unique is the use of transformation sequences, which had never been done before. There are scenes dedicated to the entire transformation from a regular girl in a school uniform, to a masked heroine. Until Sailor Moon’s releases, magical girl anime were still under the radar to the mainstream media and casual anime watcher. However it proved popular enough not only to girls and women, but to male viewers as well. Appealing to a greater audience lead to a larger fan base that pushed for more magical girl topics, thus revitalizing and redefining the entire genre.

If Sailor Moon is the epitome of the magical girl genre, then it is also representative of what the magical girl genre produced: the feminist movement in Japan. Other films may have come before in the 60s and 70s to aid in women’s rights, but Sailor Moon had appeal to a greater audience. It took the feminist ideas of girls being friends, women standing up for themselves, and being their own people and combined it with the mass appeal of transformations and magic. It features girls in short skirts that aren’t sexualized for the male gaze, and “frees” them from traditional conservative clothing. The characters are their own complex people, shown as powerful women instead of damsels in distress. These are some of the things that made Sailor Moon a symbol of feminist movements.

Revolutionary Girl Utena: Adolescent Days (Ikuhara 1999)

Revolutionary Girl Utena is an incredibly unique take on magical girls. The story follows Utena, who was saved by a prince when she was a child. Instead of growing up looking for her “prince charming”, Utena decides to become a prince herself to save others like she had been. After transferring to a prestigious academy, she finds herself battling with members of the student council over Anthy, a mysterious girl with enormous power.

What makes Revolutionary Girl Utena so important, is how it addresses gender and sexuality. Utena is not a typical magical girl. She assumes the masculine gender role similar to that of a warrior, while the femininity comes from Anthy, portrayed as a fragile rose that needs to be protected. Utena is aggressive and stubborn, even going so far as to insist on wearing her school’s male uniform. Yet she does not desire to be a boy, calling herself a “girl prince”. Her relationship with Anthy is heavily implied to be romantic, bringing in the topic of sexuality. Never before had there been a magical girl film with main characters as a same sex couple or variant gender expressions. Upon its major success, Revolutionary Girl Utena opened the doors for more queer visibility in mainstream anime.

Pretty Cure (Nishio 2004)

Produced in 2004, Pretty Cure follows the adventures of two girls who were granted magical powers by fairies. In return, their task is to collect Prism Stones, all of which are named after positive attributes such as bravery, intelligence, and harmony. The land that the fairies reside in is being invading by evil darkness, and only the Prism Stones can dispel its curse.

Pretty Cure has gained immense success and developed into a lucrative franchise, not because of the plot, but because it was a pioneer in manufacturing and marketing toys. Unlike expensive replicas and figures that were directed towards a more adult audience, Pretty Cure inspired children’s toys and outfits with a specific target. Girls could wear the same transformation bracelets that their favorite character wore, a promotional tactic already long established in boy-oriented anime. Merchandise fueled the popularity, leading other producers to follow the same path. Since then, product incorporation has been widely used in promoting magical girl films.

Madoka Magica: Beginnings (Urobuchi 2011)

The magical girl genre was turned upside down with the introduction of Madoka Magica in 2011. The film features a young girl, Madoka, who is presented with a contract to become magical, by a mysterious fantasy-like creature. Anyone who accepts must fight monsters known as “witches”, in return for one wish, big or small. The film follows Madoka who befriends various magical girls, but cannot decide whether to agree to the contract herself. Meanwhile, one magical girl, Homura, is intent on interfering with Madoka and her friends at every step.

The director, Urobuchi, initially marketed Madoka Magica as a cute mahou shoujo anime. What started out as a good-natured romp, quickly became a dark psychological thriller. While containing all the archetypes of traditional magical girl films, such as companion animals and outfit transformations, it added content aimed toward a mature audience who had grown tired of seeing the same “girl saves the day” story. This includes the reality of death that the girls face, along with sacrifice and emotional trauma. This tactic proved successful as Madoka Magica has garnered a huge cult-like following. Essentially, it is a deconstruction of the magical girl genre, examining the truth and harsh consequences of life with magic powers.

These six films form a solid basis for an introduction into the magical girl genre. In the west, these types of films are often overlooked. By providing a venue for the screenings, it opens up possibilities for more Japanese cinema-based festivals. There is a steady supply of Japanese productions, which are gaining huge followings already. It is a market with untapped potential. It benefits the venue economically as well because fans bring in many different facets such as costumes, merchandise, and novelties that can all be capitalized on for profit.
Audiences also benefit from the cultural experience that foreign films bring. It helps people understand something completely different than what they’re used to, in this case, Japanese cinema and way of life. These six films are easy to digest and provide a firm starting point for anyone who wants to explore further. They also have social meaning, as most of these films include the empowerment of women, sending messages of female solidarity and strength. While not strict ideological pieces, they still convey the importance of equality as well as compassion, resilience, and hope, something that is desperately needed in these trying times.

 

Works Cited

AnimePlanet. Mahou Tsukai Sally. n.d. Web. 4 2017.

—. Puella Magi Madoka Magica: Rebellion. 2011. 2 2017.

IMDB. Revolutionary Girl Utena: Adolescent Days. n.d. Web. 4 2017.

—. Sailor Moon S: Black Dream Hole. 1995. Web. 1 2017.

MyAnimeList. Futari wa Pretty Cure Max Heart. n.d. Web. 4 2017.

—. Mahou no Tenshi Creamy Mami. 2007. Web. 3 2017.

United Nations. CEDAW. 2008. Web. 4 2017.