SHAFT: A Visual Journey

Kayson Carlin

Bowling Green State University

February 20, 2018

 

SHAFT

When discussing animation, one attributes certain styles, themes, and techniques to individual production studios. While there exists multiple creative positions within a studio, the talents of all individuals are pooled together to create the final project. Of course, some people influence the work much more heavily than others, but in the end the final product is attributed to a specific studio. As such, many animation companies begin to form their own “markers”. Not only is this apparent in America, where features are described as having “Disney quality” animation, the same is true for Japanese anime. To the eye of a standard consumer, many anime may look alike, if not exactly the same. And while this is a result of Japan’s notion of uniformity, there are also animation studios that strive to be different from the rest. A prominent company that has successfully stood out from the myriad of anime studios, is Studio SHAFT. Through the use of highly stylized design properties, and mixed animation techniques, Studio SHAFT has earned a rightful position at the top of the industry food chain.

Although the first production of Japanese animation took place as early as 1917, the animation industry did not emerge as such until Toei Animation, Japan’s first large-scale commercial studio (then called Toei Douga), was founded in 1956 (Morisawa p.265). Years later in 1963, animation began being broadcasted on a weekly television network, Fuji TV, and gave rise to a studio called Mushi Productions, founded by Osamu Tezuka. In these weekly broadcasts, Mushi Productions gave life to Tezuka’s most famous manga series; Astro Boy. However, Tezuka’s creative vision could not be quelled, pushing for higher budgets and production values which could not be responsibly met, leading to the studio’s bankruptcy in 1973. The dissolution of Mushi Productions led to its creative body branching into several smaller production studios throughout the 1970s, many of which eventually grew into some of the finest production studios in the industry today (Morisawa p.265). One of these production companies, Studio SHAFT, began as a modest animation hub, producing less than a dozen works from 1975 to 2004. However in 2004, a man named Akiyuki Shinbo joined the team, greatly influencing the studio’s signiture style with his unique artistic expression, and forever changed SHAFT’s art direction.

A striking feature of anime done by SHAFT is their use of color, space, and background in the designs of both characters and environments. Minimalist and often abstract/interpretation-friendly backgrounds are one element of this, clear in works from Bakemonogatari (2009) to Nisekoi (2014) to Madoka Magica (2011) (Creamer 2017). Geometric lines and shapes fill buildings and architecture to create a neatly uniformed space within the world environment. However, in place of a flowing, natural landscape, or intricate, bustling city street, the characters will be placed on a two-dimensional space with shapes, lines, silhouettes, or abstract objects such as scissors. This is especially true when dialogue is taking place, even sometimes replacing whole backdrops with stylized live-action photos, or holding on a single image of road signs during exposition. Such stylizations often interrupt the viewer’s immersion, making them acutely aware they are merely watching a screen.

Along with background art, colors work as a semiotic element in SHAFT’s animation, for various emotions and artistic styles (Dai p.37). Basic color pallates paint the world, with heavy focus on bold, contrasting degrees of color. This creates a dynamic feel to the scenes and characters. Reds, blacks, and yellows dominate most of their work, as the nature of each anime is fairly straight forward. The exception to this is Madoka Magica, which starts off using pastels, and slowly adds in more black to demonstrate the narrative getting darker with each episode. This was used to lure viewers into a false sense of security, portraying the anime as cute magical girls saving the day. In reality, Madoka Magica delved into the psychological aspects of having power, the consequences of using it, and the eventual death of one’s humanity.

Studio SHAFT’s most notable design in their animation is the presence of on-screen text. At any point during the episode or movie, text will appear on abstract backgrounds or “cards”, either static or scrolling. What’s interesting is that unlike normal captions with a few words, these captions can be a literal wall of text. The viewer is bombarded with a surplus of information (Wasylak p.432). In some cases, the text is shown so briefly that the viewer cannot even begin to read it unless they pause the video every few seconds. Sometimes, the captions refer to a character’s mood or serve as a comment for the situation, but mostly they are just unrelated babble. The captions in the background or on the cards usually consist of a lot of tiny lines written in small font and are displayed in motion or appear only for a second (Wasylak p.432). Given the limited space, text appears as mostly kanji, a complex writing system of symbolic characters. Interestingly, Akiyuki Shinbo has chosen to use obscure kanji as much as possible. For example, sono (which roughly means “that”) is usually written in hiragana, but they chose to use kanji instead (The Visual Medium 2012), leaving even native Japanese speakers confused. In the case of Bakemonogatari, which centers on a young man with a knack for running into supernatural women, the source material from which the anime is adapted is a series of novels. This fact is reflected with the on-screen captions, occassionally plucking sentences or paragraphs straight from the original novels and displaying them as text. In contrast, Goodbye, Mr. Despair (2007), a parody of school life featuring a depressive, paranoid teacher, sometimes uses text as an explanation to certain jokes, pop culture references, and puns. Given that the Japanese language is complicated even for native speakers, puns can be misunderstood so having just a brief explanation is helpful. However when watching Goodbye, Mr. Despair, it, like Bakemonogatari, only provides flashes of this text, leaving viewers needing to pause the video in order to read the comments. This also jars viewers out of their complacency when watching, bringing attention to the fourth wall, and the separation between audience and screen.

Japanese anime, in general, is mostly limited animation that aims at reducing the overall number of drawings (usually there are twelve drawings per second) when compared to full animation (approximately eighteen to twenty-four drawings per second) as in Disney movies (Wasylak p.428). On average, the standard format of half-hour television animation in Japan is composed of approximately 300 “cuts”, resulting in a jerkier motion (Morisawa p.267). This can be beneficial, as anime uses more static images and an absence of movement that is akin to manga graphics, on which many anime is based (Wasylak p.428). Studio SHAFT is no exception, but instead uses aforementioned stylistic choices to replace actual animation. Limited animation favors graphic design and character design over character animation (Wasylak p.429), which is evident in the make-up of SHAFT’s worlds. CGI is rarely implemented, reserved only for extremely complex movements of both foreground and background. The animation techniques in So Long, Mr. Despair indicate a strong tendency toward manga style (Wasylak p.432), as the source material was originally a manga (graphic novel). The images are composed as if they were manga frames, and onomatopoeic sounds in the anime are accompanied with their written form (Wasylak p.433), akin to sound effects and speech bubbles. While this could be described as design choices, it can also apply to the technicality of the series, making it less taxing for animators, and reducing production costs.

In the anime community, there is what’s referred to as a “SHAFT pose” when describing character movement. These character poses may look cool, but are usually nearly impossible for a real human to pull off. The mose famous of these poses is the “head-tilt”, in which a character is facing away from the camera and tilts their head backwards to look into the lens with their chin towards the air. This is arguably SHAFT’s most trademark style that informs audiences that they are indeed watching a SHAFT production. The head-tilt has appeared in every single anime they’ve produced since 2004 (Swale p.77). In context with the narrative, the character who performs this pose is most often archetyped as mysterious, being deceitful, or possessing knowledge that the protagonist or audience does not have. For example in Madoka Magica, the character Akemi Homura, who is actually a time traveler, frequently stands in this head-tilt pose while providing cryptic warnings to the protagonists of what horrors lie before them.

Yet another commonality between SHAFT works is the ratio of animation to dialogue, described by some as a “spoken novel” (Swale p.79). As discussed previously, animation is limited, and static images are widely employed to substitute for movement and action. As a result, anime by SHAFT is dialogue heavy, taking the focus away from the sparse animation, and putting it on exposition, character development, and character design. This opens the door to multi-dimensional characters who are relatable and engaging to viewers. Such dynamic characters are strongly evident in Madoka Magica, where despite all the characters fighting for the same thing, each has a different history and resulting outlook on the world that conflicts with the main “good guy” protagonist. Viewers can understand the reasoning behind their actions, and care what happens to them even if the line of moral ambiguity is reached. So while restrictive animation can potentially harm shows, SHAFT has found another door to open via its characters to enrich the series as a whole.

The grandious and ambitious style of Studio SHAFT betrays its humble beginnings as a small production company, that slowly released films over a 30 year period. Thanks to Akiyuki Shinbo, the major creative force that forever changed the face of SHAFT, works such as Bakemonogatari, Madoka Magica, and Goodbye, Mr. Despair have brought the studio away from the perception of being one in a hundred. They stand apart, as a pioneer in alternative storytelling due to the incredibly unique, and sometimes bizarre art direction and design. Using their design strengths, they open up a world of possibilities in not only narration but characterization itself, bringing to life otherwise limited animation. SHAFT has truly made a reputation for themselves as a production studio that innovates new ideas for a changing market. Audiences can be sure of certain markers when watching a series or film with the SHAFT logo stamped on it, and are guaranteed a strange yet complex ride through visual storytelling.

 

 

References

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

Creamer, Nick. The Secret of Studio SHAFT. 18 January 2017. <https://www.animenewsnetwork.com/feature/2017-01-18/the-secret-of-studio-shaft/.110526&gt;.

Dai, Boyao. “Investigating Visual Differences Between Japanese and American Animation.” Rochester Institute of Technology (2016): 6-42.

Morisawa, Tomohiro. “Managing the unmanageable: Emotional labour and creative hierarchy in the Japanese animation industry.” Ethnography 16.2 (2015): 262-284.

Swale, Alistair. Anime Aesthetics. Waikato, New Zealand: Palgrave Macmillan, 2015. Print.

The Visual Medium. Shaft Style. 2012. <http://the-visual-medium.blogspot.com/2012/01/shaft-style.html&gt;.

Wasylak, Katarzyna. “Need for Speed: Anime, the Cinematic, and the Philosophical.” Children’s Literature Association Quarterly 35.4 (2010): 427-434.

 

Auteur Analysis of Taika Waititi

Kayson Carlin

November 14, 2017

 

Auteur Analysis – Taika Waititi

Born to a Jewish mother and Maori father, Taika Waititi graced the world in August 1975 in Wellington, New Zealand (Defender Films). Originally an actor, he moved on to writing and directing in the mid to early 2000s. His first short, professional film Two Cars, One Night (2003) was nominated for an Academy Award, and has since developed into an innovative and creative up-and-coming filmmaker. Despite only having a small repertoire of professional films, Waititi has shown to have a unique style which includes male-centric characters, a charming sense of humor, and nods to his own Maori heritage.

As of the time of this writing, Waititi’s films tend to focus on slice of life situations from a male perspective. The main characters in each of his films have a range of ages, but are always men; Ricky (Julian Dennison) and Hector (Sam Neill) from Hunt for the Wilderpeople (2016), Boy (James Rolleston) from Boy (2010), and nearly the entire cast of What We Do in the Shadows (2014). Whether this is on purpose or done subconsciously has yet to be seen, but it still shows a trend Waititi has followed so far. The situation on hand has always been explored from a male view. In Hunt for the Wilderpeople, Bella (Rima Te Wiata) plays a big role in Ricky’s character development even though she is not physically present for the majority of the film. The viewer does not see events from her point of view; likewise, her experiences, thoughts, and emotions are not directly explored. The only references to this are secondhand from Hec, her husband. On the other hand, the complexity of Hector and Ricky are explicitly shown through their actions and dialogue. To go a bit further, Waititi’s works mostly address masculine relationships; man and foster son, boy and his estranged father, and a group of male friends. These dynamics are at play in all of his films, and give insight into atypical male bonding.

One major signature of Waititi’s work is the use of humor within the narrative. “Waititi’s films have been regional slices of life, a fascinating blend of sentimentality, zaniness, angst, and a unique type of awkwardness that exists somewhere between Wes Anderson and Jared Hess” (Perkins). Every single film he has directed plays on the same type of comedy. His films tend to incorporate absurdity, often delivered in a deadpan way (Carew, p.22) In What We Do in the Shadows, the entire concept of vampires living as flatmates in modern-day Wellington is absurd, yet it is grounded in somewhat relatable situations; dealing with messy roommates, meeting new people, and adjusting to change. “Waititi doesn’t force these moments, nor lean on the sentiment behind them, preferring to let a comedic tone and naturalistic emotions shine through” (Ward, p.11). The same is true in Hunt for the Wilderpeople. It’s absurd and comical to find a grumpy old man and a boy who believes he is a gangster, together in the New Zealand wilderness, fleeing from child welfare services. Waititi adds to this zaniness by inserting moments of dark humor into situations, such as Ricky unknowingly describing Hector as a pedophilic molester, or Petyr’s “freak sunlight accident” in What we do in the Shadows, resulting in his death. With previous experience in comedy, it’s no wonder that off-beat humor finds its way to the front of Waititi’s films.

A unique part of Waititi’s films is his inclusion of Maori culture. “His domestic work is primarily characterized by a veneration of nature and indigenous culture” (Perkins). Coming from a Maori background himself, Waititi adds either a sprinkling of his heritage, or fully embraces it. Characters such as Ricky from Hunt for the Wilderpeople, and the boys in Two Cars, One Night, are clearly from Maori decent. Yet in each film, they are presented as “normal” modern day people, demystifying any assumed exoticism. It’s clear that a statement is being made about the romanticism of native culture that is seen in other cinema. To an American audience, it may be difficult to understand the implications of such representations. “Ways of seeing the world and ways of portraying the world in the movies differ for each country and culture, and it is necessary to understand the cultural conditions that surround a movie if we are to understand what it is about” (Corrigan, p.90). This rings true, especially for Waititi when he incorporates native cultures of New Zealand into his films. “Wilderpeople taps into the growing pride in national cinema that has emerged in the wake of Waititi’s gradual reshaping of New Zealand film on the world stage” (Flux, p.17) Even in What we do in the Shadows, the setting takes place in Wellington, New Zealand. The meaning behind those representations resonate differently with New Zealanders than they do with other parts of the world, but is still recognizable and comparable to other native cultures that have been oppressed such as the Native Americans in the United States. Given the underrepresentation of minorities in cinema, this makes Waititi unique as he not only includes minority cultures in his work, but is one as well.

Taika Waititi has proven himself as having an exceptional vision when it comes to filmmaking. The quirkiness embedded in his work signify them as one of a kind, just like the explosions in Michael Bay’s movies, lens flares in J.J. Abram’s Star Trek films, or unreal plot twists in an M. Night. Shyamalan storyline. It is yet to be seen if his future films make an attempt to address situations from a female perspective, or include central female characters. But his inclusion of indigenous minority cultures and actors certainly make him noteworthy. It feels like Waititi is just at the beginning of a, hopefully, long career in filmmaking.

 

 

Works Cited

Carew, Anthony. “Bloody Good Comedy: What we do in the Shadows.” Metro 183 (2015): 18-23.

Corrigan, Timothy. “Six Approaches to Writing About Film.” Corrigan, Timothy. n.d. 87-113. 2017.

Defender Films. Taika Waititi Biography. 2005. <http://www.imdb.com/name/nm0169806/bio?ref_=nm_ov_bio_sm&gt;.

Flux, Elizabeth. “On the right trek: Taika Waititi’s ‘Hunt for the Wilderpeople’ and New Zealand film.” Metro 190 (2016): 14-19.

Perkins, David. Regional Storytelling of Taika Waititi. 25 August 2016. <http://screenprism.com/insights/article/what-are-the-techniques-and-characteristics-of-taika-waititis-filmmaking&gt;.

Ward, Sarah. “There’s no place like home: Finding family in Hunt for the Wilderpeople.” Screen Education 85 (2017): 8-15.

 

Ace of Hearts: Asexuality

Kayson Carlin

Bowling Green State University

August 5, 2017

 

Abstract

Asexuality is analyzed through a scientific and social lens to determine why it is so little known. Possible solutions are proposed to incorporate the asexual community into mainstream society with increased media visibility and education. The conclusion formed from various academic literature on asexuality, indicates a strong need for more attention from the general public.

Keywords: asexuality, sex, LGBT+, engagement

Ace of Hearts

In 2011, a coincidental Google search for funny YouTube videos resulted in one teenager’s self-discovery. For years, they felt somehow different from their peers, whose lives revolved around hook ups and break ups. Weren’t there more important things to worry about, like college admissions, refugees in the Middle East, or even alien life within our very own solar system? This teen felt like they were broken, physically, mentally, or both. They agonized over this, until the day they came across a term by pure chance; asexuality. It described someone who does not experience sexual attraction. There was even a community of these people whose experiences echoed the teen’s. Finally, they realized they weren’t broken, just different. And they were not alone. Only recently have sexologists begun to explore asexuality as an orientation. Had there been wider acknowledgement of such an orientation, perhaps the teen’s confusion could have been minimized. Unlike heterosexuality, which has major visibility, other orientations such as bisexuality, pansexuality, and especially asexuality, is scarcely known both to those who experience it, and those in the “outside”, sexual world. To have a more well-rounded and educated society, asexuality deserves the same attention from the public as other orientations.

 

The phenomenon of asexuality has been underreported for centuries. By default, a person is assumed to be heterosexual, believed to be “the norm”. Unless someone, like a historical figure, explicitly shows or states attraction to the same sex, they are often labeled by that default. This assumption however ignores other sexualities because they do not fit neatly into a binary of hetero/homo. With so little recognition, it’s no wonder why a majority of the public is unaware of the existence of asexuals. What’s more, it’s estimated only a small portion of the world’s population is asexual, much less than homosexuals, bisexuals, or pansexuals. As a result, asexuality does not garner attention from the general public because many believe it does not exist.

In 2004, psychologist Anthony Bogaert estimated that approximately 1% of the world’s population was asexual (Van Houdenhove, Gijs, T’Sjoen, & Enzlin, 2014 p.175). Compared to other sexual orientations, this is a minute number. But just because the prevelence is small, doesn’t mean that it is any less valid. While every other sexuality focuses on a certain type of sexual attraction as it’s main point, asexuality focuses on the lack thereof. For many sexual people, this is considered odd because sex is seen as an intristic part of life for all creatures. It’s believed that all animals have this innate urge to mate, including humans, as a way to keep the species alive. Some claim this is a basic desire dating back to our earliest ancestors. How could a human lack this primal instinct? As mentioned earlier, the occurance of asexuality is poorly recorded in history, which includes asexuality in animals. Until relatively recently, it was long thought that nearly all animals, especially mammals, were exclusively heterosexual. In a controlled experiment in 1997, researchers observed the sexual behavior of rams. “Most of the rams exhibit behaviors that evince heterosexual attraction. However, a significant minority of rams exhibit behaviors evincing marked attraction to the same sex (i.e., other rams) or both sexes (rams and ewes). There is also a significant minority of rams showing no interest or attraction for either rams or ewes” (Bogaert, 2015 p.363). This suggests that a small percentage indicate asexuality. Bogaert suggested “rams may provide an important animal model of human sexuality” (Bogaert, 2015 p.363). It can be concluded from such studies that asexuality has always existed in animals and humans, but is only now being discovered.

Another common misconception which leads to the invalidation of asexuality, is the idea that there must be something biologically wrong. Again, sex is considered a staple of life on earth and logically to not be interested signifies a possible medical problem. In fact, there is a term to describe such a medical abnormality; Hypoactive Sexual Desire Disorder, or HSDD. To test this theory, two Canadian researchers Brotto and Yule, conducted an experiment with women who self-identify as heterosexual and women who self-identify as asexual. Through genital sexual response testing the results showed that both groups of women had similar physical responses, however the asexual group reported no increased desire for sex (Brotto & Yule, 2015 p.621). This demonstrates that the body of an asexual, or at least the genitals, react appropriately to stimulation just as heterosexuals, potentially ruling out HSDD. Furthermore, “the distinction between asexuality and disorders of low sexual desire (as outlined in the DSM-5) hinges on clinically significant personal distress arising from the lack of sexual desire” (Cranny, 2017 p.638). For example, if you have a freckle or mole on your face, it’s only a problem if you feel self-conscious about it, or it’s interfering with daily life. Asexuals reported little to no distress in their daily lives over the lack of sex or attraction.

By making this information of the concept of asexuality available to the general public, the awareness of asexuals will increase, bringing attention to the community. And with proper scientific data of it’s validity, asexuality will have a place at the discussion table.

One proposed solution to this lack of visibility is more informative sexual education. In schools, some states only require a basic overview of heteronormative safe sex practices, while other teach complete abstinence to their students. To contribute to our changing society, education needs to address non-heteronormative sexual issues. This normally includes homosexuality, and sometimes bisexuality/pansexuality. It is through these classes that some youth discover who they are. But excluding the topic of asexuality can leave a gaping hole for some individuals who are not aware there is life without sex. This happens in not just sexual education settings in school, but in everyday life such as doctor’s offices, clinics, and counseling centers. By bringing asexuality into the limelight, it helps those who do not experience sexual attraction find themselves, and those in the sexual world to broaden their understanding of fellow humans.

Another solution proposed is the increase of positive asexual representation in media. It seems a staple of any television show, movie, or book nowadays is a romantic, sexual relationship. It pops up in romance novels such as Twilight (Meyer, 2005), and even super hero movies, like Deadpool (Miller, 2016). There has been an increase in non-heterosexual visibility in the most recent decade, however asexuals are widely underrepresented. In the comedy sitcom, The Big Bang Theory (Cendrowski, 2007), the character Sheldon displays explicit asexual characteristics. Yet his behavior is coined as neurotic and comical. “Apparent from such popular culture excerpts, however, is how mockery and humor are being used in ways that can derogate asexuals or those suspected of being asexual” (MacInnis & Hodson, 2012 p.725). As a result, those who come across asexual representation in this light, also view asexuals as neurotic. It becomes a dismissive topic. There is an advantage to media to paint asexuality in a positive light which will influence those who consume said media. As it becomes more prominent to have complex asexual characters, it will no longer be considered “crazy” or “weird” and will instead normalize the way people view actual asexuals.

General understanding reduces the alienation of asexuals in society. It may be difficult to plainly see, but those in the asexual community are indeed faced with prejudice . In a 2011 survey, participants were told to assign and rate positive and negative traits to certain sexual groups. Among those groups were heterosexuals, homosexuals, bisexuals, and asexuals. It was no surprise that heterosexuality received the most positive feedback. “Within sexual minorities, homosexuals were evaluated most positively, followed by bisexuals, with asexuals being evaluated most negatively of all groups” (MacInnis & Hodson, 2012 p.731). In this study, asexuals were commonly viewed as “inhuman, cold, and less valuable” than their counterparts. This of course is a misconception, because sexual orientation does not determine humanistic traits. But it does speak volumes about what others think of the community. Such negativities hurt the asexual community and makes it more difficult to be accepted. As stated above, education and positive representation can go far in making asexuals feel included, as well as teaching society acceptance and tolerance. People will begin to see that even though they do not experience sexual attraction, asexuals are just as human as everyone else, complete with emotions, dreams, and relationships.

There are many steps to be taken to ensure asexuality becomes viewed as normal in the spectrum of human sexuality. As many in the general public have misconceptions about asexuality, the first step may be to eradicate these notions that there is something wrong with asexuals. When doing research, it’s obvious that scientists, sexologists, and doctors have put a lot of thought into discussing asexuality from a non-biased standpoint. This research however, is not readily available to the average person. This is when accredited individuals in science-based fields need to come forward as one to properly address controversy. Without a public statement or stance by reliable sources, rumors will continue to leak into conversations and influence opinions, leaving asexuals to fend for themselves.

Support and education is also needed for those who identify as asexual. For so long, asexuals felt isolated and broken for simply being different. It’s time to support and encourage them in their lives, instead of ridiculing them. They need reassurance that there is nothing wrong with them and that they are not alone in their feelings. Education in daily life, whether it be a brochure or a poster, can help non-asexuals recognize and address the asexual community. They are going to always be around, they’re not going away. People need to understand this so they can work together to create a more diverse, accepting, and positive society.

Media is a major aspect of the modern world, influencing what we buy to even what we think of other groups of people. Such little asexual representation leaves so much room for stereotypes and falacies. There is a need for more representation in books, movies, and television to introduce people with differences. What people see reflects how they think, and their opinions of others. If all they know is distasteful jokes about asexuals, then those people in turn become a joke to them. By demonstrating the humanity and complexity that asexuals have, instead of misconceptions and character tropes, it spreads awareness that they too, are normal people. Incorporating positive portrayals of asexuality in the media, can go a long way in challanging misconstrued beliefs.

In conclusion, there is a serious lack of attention to people who do not experience sexual attraction. These people exist, and even though they are a minority, they deserve to be treated with respect. Misinformation of asexuality leads to prejiduce and confusion, creating a barrier between the asexual community and the sexual community. The ultimate goal is understanding between people with differences, which in turn will create a better world.

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

Keleman, E. (2007). Asexuality. Encyclopedia of Sex and Gender, 103.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

Asexuality: Real or Fiction?

Asexuality: Real or Fiction?

Kayson Carlin

Bowling Green State University

 

 

Abstract

A look into asexuality through eight different articles, debating the validity of asexuality as a sexual orientation. Alternate theories and explanations are provided to argue against the legitimacy of asexuals, along with documented support in favor.

Keywords: asexuality, LGBT, orientation, sex, inquiry

 

 

Asexuality: Real or Fiction?

In the study of human sexuality, a new term has been presented to describe someone who lacks sexual attraction: asexual. Unlike other sexual orientation, the main component of asexuality is the lack of desire and/or sexual attraction to others. As discussed in previous papers, there is currently a debate regarding asexuality as a valid orientation or whether it is the result of some disorder. From this debate comes research that both supports and argues against asexuality as real.

For those who identify as asexual, the experience is very real. They do not feel sexual attraction or desire, which is greatly different from those who are celibate or chaste. “Celibacy and chastity describe acts and choices, whereas asexuality describes desire or, rather, indifference” (Keleman, 2007 p.103). This difference is made distinct in nearly every scholarly article, which is important to remember as it is an observed and documented difference that should not be easily confused.

Asexuality is not limited to humans, as observed by Anthony Bogaert in “Asexuality: What it is and why it matters.” For example, rams were observed displaying non-heterosexual behavior including asexual tendencies (Bogaert, 2015 p.363). Although a minority, the fact is that it still exists which suggests more needs to be studied in regards to this phenomenon occuring in multiple species. The presence of asexual behavior in animals, suggests similarity to human sexuality. However the difficulty of research lies in the definition of asexuality, since the experienced is described in a wide variety of ways by many different people. As stated by scientists in Sex Health Rep, “asexuality is not currently a well-defined construct, at least not from a standpoint of scientific rigor, and definitions vary” (Brotto, Gorzalka, & Yule, 2017 p.51). Due to this fact, asexuals are often met with confusion, uncertainty, and resistence from not just the outside world but within themselves. ‘The emergence of the asexual community, combined with a lack of empirical data on asexuality, has led to much discussion and speculation, both within academic and non-academic communities, on how asexuality should be conceptualized” (Brotto, Gorzalka, & Yule, 2017 p.51). This contributes to the topic of the legitimacy of this as an orientation.

An argument often presented by those who do not consider asexuality as real, is that there is some sort of disorder that “makes” one asexual. These range from mental disorders, to sexual disorders, and hormonal disorders. Observations and studies have included these possibilities and explored them to account for such a phenomenon. One such study observed that those who self-identify as asexual “found small but statistically significant higher rates of depression and self esteem problems among the asexuals compared to the other sexual orientation groups” (Brotto & Yule, 2015 p.620). Furthermore, researchers found “that asexual individuals were more likely to report symptoms of anxiety, and to endorse more symptoms of suicidality compared to sexual participants” (Brotto & Yule, 2015 p.620). These findings suggest that there is a correlation between mental illnesses and sexuality, specifically the lack of sexual attraction. In addition, the continuation of that study revealed that asexuals display more characteristics of autism and aspergers, than any other sexual group (Brotto & Yule, 2015 p.621). Likewise, people with autism or aspergers tend to identify as asexual as opposed to other sexual orientations (Brotto & Yule, 2015 p.621). Using this information, there is a possible correlation between abnormalities in the brain and lack of sexual attraction.

Another related aspect is the possibility of a sexual dysfunction which contributes to someone’s identity as asexual. To explore this, Lori Brotto, a researcher of Obstetrics and Gynaecology at the University of British Columbia, conducted an experiment in which women were exposed to erotic videos and their bodily response was recorded. “Although the asexual

women self-reported no increase in desire for sex after viewing the erotic films, their genital response, as measured with a vaginal photoplethysmograph, did not significantly differ from the other sexual orientation groups” (Brotto & Yule, 2015 p.622). In other words, the physical response of the asexual women did not lead researchers to believe there was a sexual dysfunction that attributed to lack of sexual desire.

Conversely, Steven Cranney argues that while asexuality does occur, the supposed “cause” is unlike other sexual orientations. “The latter orientations [homosexuality/heterosexuality] never arise out of unhealthy conditions, whereas lack of sex drive can be a characteristic that accompanies clearly unhealthy conditions, even if no personal distress is caused by the lack of sexual desire in itself” (Cranney, 2017 p.638). He claims that while asexuality exists, it may not be considered part of a healthy individual.

Asexuality, like other phenomenon, don’t exist soley in a vaccuum. A variety of factors contribute to the overall identity of an individual such as state of mind and past lived experiences. “However, these categories are not mutually exclusive, and even if asexuality were best placed within a sexual orientation classification, this does not exclude the possibility that it can also overlap with the other categories” (Brotto & Yule, 2015 p.625).

 

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and Why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627. doi:10.1007/s10508-016-0802-7

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

Cranney, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:doi:10.1007/s10508-016-0887-z

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts, Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192. doi:10.1080/0092623X.2012.751073

 

 

Bogaert, A. F. (2015). Asexuality: What it is and why it matters. Journal of Sex Research, 52(4),  362-379. doi:10.1080/00224499.2015.1015713

Anthony Bogaert, a researcher at Brock University, inquires what the term “asexuality” means in social context, along with examining its validity, and issues that have arisen. Research was collected using the author’s past studies and papers, along with experiments conducted by scientists. Also included are very brief anecdotes from individual’s experience as an asexual. The conclusion was that despite being an underreported sexual minority, asexuality provided insight into the broad spectrum of human sexuality.

This sources uses a solid foundation of ethos, pathos and logos to get its point across, which was focused on earlier. It is most reliant on logos, or logic, to connect certain studies to asexuality. The author establishes a line of reasoning using past scientific observations to make conclusions as well. There is little room for an emotional argument however inclusion of more first-hand experience would help strengthen the article. The information in this source helps provide a foundation for asexuality as a concept, as well as prove its validity using experiments, both of which are needed in my thesis.

Brotto, Gorzalka, & Yule. (2017). Human Sexuality: What do we know about a lack of sexual      attraction. Sexual Health Rep, 50-56. doi:10.1007/s11930-017-0100-y

Three researchers from the University of British Columbia, Brotto, Gorzalka, and Yule, review recent literature on the topic of asexuality in humans. They investigate if asexuality is a possible physiological disorder, drawing upon previously published papers in the fields of gynecology, and psychiatry. It also explores the relation of community and self- identity in development. In conclusion, they stated that asexuality was best described as a normal variant of human sexuality.

This source relies on solid scientific observations in multiple fields such as gynecology and psychiatry to synthesize their ideas. By combining information from different expert perspectives, the conclusions are strengthened. The data also demonstrates differences between biological processes and internal identity, an advantage over papers that rely solely on self-reported experiences. This is relevant in my thesis to help disprove common misconceptions about asexuality in terms of a physiological malfunctions. While this source in similar to others in addressing the science behind sexuality, it goes into more detail via observational data.

Brotto, L. A., & Yule, M. (2015, June). Asexuality: Sexual Orientation, Paraphilia, Sexual           Dysfunction, or None of the Above. Archive of Sexual Behaviors, 619-627.         doi:10.1007/s10508-016-0802-7

Brotto, from the Department of Obstetrics and Gynecology at the University of British Columbia, and Yule, from the Department of Psychology, inquire if the phenomenon of asexuality is a mental disorder, sexual dysfunction, paraphilia, community trend, or sexual orientation. Through genital sexual response testing in groups who consider themselves heterosexuals versus those who consider themselves asexual, conclusions were formed based on physiological data that was observed. The results showed that both groups had similar physical responses, however the asexual group reported no increased desire for sex. Asexuals also reported little to no distress in their daily lives over the lack of sex or attraction. It was concluded that asexuality, as a heterogeneous group, can be considered a sexual orientation.

This text addresses the two main issues surrounding asexuality in a scientific and non-biased approach. By using data to present their findings, ideas and statements are strongly supported. Also addressed are two social issues of asexuality, which adds to the well-roundedness of the paper. The findings of their observational studies support asexuality as a sexual orientation, contributing fact to my thesis. Previous sources seem to agree with these results, confirming it as a legitimate orientation.

Carrigan, M., Gupta, K., & Morrison, T. G. (2013, December). Asexuality Theme. Psychology & Sexuality, 4(2), 111-120. doi:10.1080/19419899.2013.774160

This text explores possible themes of asexuality and asexual identifying persons, to determine if this phenomenon is homogenous or heterogenous in nature. Information was collected via online surveys of 174 self-identified asexuals, and interviews of eight asexuals. While some aspects and experiences were reoccurring, there was insufficient data to link asexuality to religion, abuse, or health. The one significant find was that there was an increased correlation between people who reported having little to no sexual attraction and Aspergers.

Personal accounts of experiences concerning sexuality are useful but the authors rely a bit too much on this. Unlike previous sources, this one does not contribute its own experiments or observational data, making it a weakness. First-hand accounts do contribute though to my thesis in a social aspect, if not strictly scientific.

Cranny, S. (2017). Does Asexuality Meet the Stability Criterion for a Sexual Orientation. Archive of Sexual Behaviors, 46(3), 637-638. doi:10.1007/s10508-016-0887-z

Steven Cranney, a professor in the Department of Sociology at Baylor University discusses criteria that categorizes certain sexual attractions and behavior as an orientation. Asexuality is compared and contrasted against a “stability criteria” of verified sexual orientations in order to judge its legitimacy. Cranney concludes that some facets of asexuality or lack of sexual attraction do meet general criteria, however individual circumstances must be considered before making a definitive statement.

This text is only two pages which is extremely short compared to other previous sources. This can be considered both good and bad. The brevity makes it easier to read and digest but it’s also possible that there could be potential content missing that may have added to some ideas. Cranney provides counter-arguments to asexuality claims, pointing out potential fallacies which in turn help my thesis by addressing those issues. It is different in the tone of the text compared to other sources, as it almost seems like the author is against asexuality being considered a valid sexual orientation.

DeLuzio Chasin, C. (2011). Theoretical Issues in the Study of Asexuality. Archive of Sexual        Behaviors, 40, 713-723. doi:10.1007/s10508-011-9757-x

This article, published by CJ DeLuzio Chasin from the Department of Psychology at the University of Winsor, explores potential issues in the study of asexuality such as the inconsistencies reported among the self-identified. It also questions sexuality in relation to romantic attraction and gender. The author looks at a variety of past papers and articles to compile information and point out strengths and weaknesses and the overall consensus of scholars. In the conclusion, it was stated that self-identified asexuals display a spectrum of romantic attraction and gender identities that need to be taken seriously to investigate further. The author ends with a list of potential questions to help solidify future research.

This article does a good job at recognizing the diversity within the asexual community, including ideas of gender and romantic diversity. It acknowledges that while sexuality, romantic attraction, and gender are separate, they can and do often overlap and influence each other. The list of questions is helpful because they provide a step in the right direction moving forward and contributing to future studies. My thesis benefits from the inclusion of romantic/gender diversity and how it plays a part in sexuality or lack there-of. It includes those aspects which my other sources do not put much emphasis on.

MacInnis, C. C., & Hodson, G. (2012, February 23). Asexuality bias. Group Processes and          Intergroup Relations, 15(6), 725-743. doi:10.1177/1368430212442419

MacInnis and Hodson, two researchers from Brock University, question if asexuals experience bias from heterosexuals, akin to homosexuals. The authors look at surveys and observations from two different studies, ruling out confounding variables. In the end, it was discovered that asexuals face similar prejudice as homosexuals, being viewed in a negative light as “inhuman, cold, and less valuable”.

Included in this paper are charts that demonstrate reactions to sexual minority groups, including asexuals, separated by attributes such as gender, religion, and political affiliation. This makes it easier to comprehend data. Also included is an anecdote from a popular television show which helps put bias into perspective for someone who is unfamiliar. The authors take a different view, using a social approach of the “sexual world” looking in, instead of the scientific world looking in like previous articles. This gives my thesis more validity by paralleling other sexual minority experiences to asexual experiences.

Van Houdenhove, E., Gijs, L., T’Sjoen, G., & Enzlin, P. (2014, May 1). Asexuality: Few Facts,    Many Questions. Journal of Sex & Marital Therapy, 40(3), 175-192.        doi:10.1080/0092623X.2012.751073

Three scholars from two Belgium universities discuss the foundations of asexuality such as history, prevalence, and definition. Asexuality is compared to hypoactive sexual desire disorder (HSDD) to examine the possibility that the two are the same. It also explores common characteristics in self-identifying asexuals. The authors then state that asexuality is distinct from a disorder and is a fascinating topic that warrants future research.

This source is similar to some of my other sources in that it covers the basics of asexuality. Unfortunately, it doesn’t have a specific in depth research question. But it does corroborate previous published papers which solidifies the basic findings even more. It can be a little redundant, but overall adds more foundation to my thesis to help prove validity to asexuality.

Critique of Bogaert’s Asexuality

Critique: A Look at Bogaert’s Asexuality Article

Kayson Carlin

Bowling Green State University

 

 

Abstract

This paper examines the impact of Bogaert’s article Asexuality: What It Is and Why It Matters which was published in volume 52, issue 4 of the Journal of Sex Research. The content is analyzed in how it uses rhetoric methods such as ethos, pathos, and logos to supports its statements. The conclusion has found that the article has a solid foundation and succeeds in using previously mentioned rhetoric to reach its audience.

Keywords: asexuality, LGBT, rhetoric, critique

 

 

Critique: A Look at Bogaert’s Asexuality Article

As humans evolve in linguistics, new terms pop up all the time to describe groups of people with shared experiences. Such experiences or phenomenon may have existed for hundreds or thousands of years, but only recently have been given names. One such example is the term “asexual”, meaning non-sexual. Anthony Bogaert, a professor at Brock University in Canada, studies human sexuality and the origins of human orientation. Through a number of academic journals, he addresses the concept of asexuality, or people who do not identify with a sexual orientation. The main purpose of Asexuality: What It Is and Why It Matters is to persuade the audience that asexuality is a legitimate orientation that needs to be studied more depth in order to fully understand human sexuality as a whole. I believe the article accomplishes this by making use of scientific data, reliable academic sources, and a strong prevalence of logos mixed with ethos and pathos.

The word “asexual” is mostly used in biology related fields to refer to an organism that can sexually reproduce with itself. In more modern times, the term has come to refer to people who do not experience sexual attraction. Unlike heterosexuality or homosexuality, they feel no urge to form sexual relationships, and have little to no interest in males, females, or other genders. This does not mean however that they do not experience romantic attraction as some identify as hetero-romantic, homoromantic or biromantic. Still, some identify as “aromantic” in which they do not experience romantic attraction. Currently there is dissonance in whether asexuality is a “real” orientation and should be accepted just like homosexuality or bisexuality, especially in the Lesbian, Gay, Bi, and Trans+ (LGBT+) community. Very little scholarly work has been done on asexuality, but as awareness spreads, researchers are beginning to examine this phenomenon more closely.

The use of logic is abound in this scholarly text. One of the first uses is in reference to an observation of rams’ sexual preferences to explain that this phenomenon is not limited to humans or human society. “Most of the rams exhibit behaviors that evince heterosexual attraction. However, a significant minority of rams exhibit behaviors evincing marked attraction to the same sex (i.e., other rams) or both sexes (rams and ewes). There is also a significant minority of rams showing no interest or attraction for either rams or ewes” (Bogaert, 2015). This conclusion was based on a previous study researchers conducted in 2004. The author then links this behavior to humans by stating “Other atypical orientations—no sexual attraction—in rams may provide an important animal model of human asexuality. Thus, there may be similar brain and other developmental mechanisms giving rise to these atypical sexual attractions in both species” (Bogaert, 2015). By using this source the author establishes a line of reasoning using past scientific observations to make conclusions.

Used less often than logos is pathos; an appeal to the emotions. Given that Bogaert’s article is based on scientific evidence, there is little room for an emotional argument. When discussing the possibility that asexuality is caused by a medical condition that can be corrected, he asks the question “Does it matter what causes it?” by using an example: “if a man is attracted to other men because of an atypical biological process—including a biological process that is atypical for his sexual orientation and that process may be alterable—does this negate the lived experience of his (subjective) attraction to men? In short, he no longer has (or had) same-sex attraction; thus is not, or was not, homosexual? It is argued here—and likely most would agree—that, no, he is still homosexual because his subjective attraction is to men, regardless of the cause of that subjective experience, even if the cause potentially differs from the main processes underlying homosexuality for most individuals, and even if that process might be alterable at some point in time” (Bogaert, 2015). This example contains an emotional tone that suggests audiences should agree with Bogaert’s view that it does not matter what “caused” someone to be asexual to be considered valid, but that simply because it exists or existed at some point in their life that makes it valid.

The author, Anthony Bogaert Ph.D., does not explicitly bring up his credibility on this subject but instead frequently refers to and cites his own past work regarding human sexuality. From looking at his sources, we can see the extent of his research on not just asexuality but sexology as well. By digging deeper we can find qualifications and experience in this field through university achievements, advanced education, and previous journal publications. While not obviously apparent, such milestones contribute to his credibility, or ethos, on this particular subject.

An important facet to note is the context in which this article was published. As our society becomes more progressive and opens itself up to new ideas and ways of thinking, an increasing number of people voice their experiences. What was once thought of as a non-existent orientation now has researchers, scholars, and scientists’ attention. Perhaps 200 years ago, no one would take notice of this phenomenon because there was no term to describe it; the pressure from society to conform, and the limited understanding hid asexuality from even those who experienced it. However, when this article was published in 2015, an incredible amount of change had taken place in the world. The advent of the internet connected people, ideas, and movements to foster learning of those who were similar and those who were different. LGBT+ activism swept the nation, gays and lesbians were granted equal rights to marry, transgender people spoke up loud and clear, and sexual minorities were gaining recognition. These events are important in how audiences receive this article. Had this been published 30 years ago, it may not have had the relevance it has today. In fact, with gender and sexuality being a hot topic in the modern world, this article utilizes the full interest and impact when read by audiences.

In conclusion, Asexuality: What It Is and Why It Matters utilizes rhetorical techniques in all three main aspects; logos, pathos, and ethos. It relies mostly on logos and previous observations to convince readers of its claims, which can greatly support any argument in any article. This gives it a solid foundation. Perhaps an improvement in pathos would be to include experiences, thoughts, and opinions of asexual people themselves. Such rhetoric would be more appropriate however in a pop culture article instead of a scientific journal. The weakest of all three is ethos because there is no immediate or tell-tale way to assume credibility of Bogaert, unless outside research is done. It can be argued that Kairos is used in the timing of this publication to reach the most readers and have the greatest impact to the topic. Overall, Asexuality: What It Is and Why It Matters is well written with an understanding of rhetorical techniques that make good use of the information provided.

 

 

References

Bogaert, A. F. (2015). Asexuality: What it is and Why it matters. Journal of Sex Research, 52(4), 362-379. doi:10.1080/00224499.2015.1015713

Film Genealogy of Magical Girls

Kayson Carlin

25 April 2017

Bowling Green State University

 

Building A Genre Using Magic and Love

Over the past century, film has gained incredible momentum, from audiences watching a 46 second reel of workers leaving a factory, to multimillion dollar blockbuster hits that employ cutting edge technology. Auteurs were made, genres were discovered, and technology advanced. Throughout all these years, film has been intertwined with history, economics, societal expectations, cultural customs, religion- everything you can think of. The result is somewhat like a family tree; each movie, director, genre, etc is connected in some way or another, either directly or somewhere far down the line. Of course, the same can be said for everything in this world. But in this paper, I will look at a specific genre of animation, and how it connects to the bigger picture of film’s overarching genealogy, with an emphasis on Japan.

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 moving drawn images progressed differently in parts of the world, but none quite as uniquely as Japan. It even has its own name, to which everyone knows exactly what is being described – 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.  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 (Saito). These films are generally produced for a younger female audience, 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.

In order to understand the history of the magical girl genre, first one must look back to World War II. The origins of this genre started in manga– a form of Japanese comic that came about during the war to provide some relief to citizens. Directly after the war, books and magazines boomed because they could be published with minimal labor, and used cheap material which was often recycled (Prough). Children rapidly consumed popular manga because it captured the whimsical life that they longed for, but couldn’t fully have. As the children grew up, publishing companies continued to churn out titles to match their consumer’s age. Eventually by the early 60s, those same kids were old enough to begin creating manga of their own (Prough). Initially it was mostly men authors who enlisted the help of their wives, but in the late 60s and early 70s there was a surge in female authors. This was because of influence from the feminist movement, which promoted female empowerment. Since these women had spent years working in the background of their male counterpart’s shadow, they too were skilled at creating manga and were finally making their way into the light of day. Encouraged by pro-female ideology, women authors began writing girl-centered manga, and one way to express their independence was giving the girl characters some sort of magical power. This was used as a metaphor for how “powerless” women felt under male oppression. By giving the character magical powers, they were literally giving them power to be strong on their own. By this time, anime began to adapt manga to capitalize on it’s popularity, which included the magical girl genre.

Prior to 1960, a vast majority of artists, writers, and filmmakers were men, and featured heavily on male-centric narratives. It wasn’t until the mid 1960s that positive female-centric stories were widely available, created by women themselves (Saito). A major contributing group to female visibility and empowerment, which later lead to the start of the magical girl genre, were the members of the all-female, Showa 24. The Showa 24 (named so because most of the members were born in 1949, the 24^th year of the Showa era according to the traditional Japanese calendar) created numerous manga with female protagonists, and female character driven plots which garnered the attention of women readers, who could identify with not just the characters, but the themes as well. Their artwork and layout was inspired from film, treating each panel as if it were a frame from a camera, adding diverse views of characters (Newitz). One creator in particular, Moto Hagio, is considered the “founding mother” of modern female manga, due to her unprecedented take on female-centric characters at the time, presenting them as complex human beings (Lunning). Later in the decade, the work of the Showa 24 would intersect deeply with the feminist movement, and come to be accepted as the original influence on magical girls, whose core values are empowerment, femininity, and friendship.

An interesting fact that should be known is that while the magical girl genre is uniquely Japanese, it was actually an American television series that planted the idea of adding magical powers. Bewitched (1964-1972), which featured a witch using magic in everyday situations, became a surprising hit in Japan. The popularity of this show largely contributed to the rise of magic appearing in creative works, especially with female characters. As stated previously, women with magical powers intersected with the feminist movement, as these characters were given control over their lives, as opposed to previously male-dominated positions.

In more recent  history, the roots of the magical girl genre has been prevalent in the works of Naoko Takeuchi, the creator of Sailor Moon (1992-1997). Inspired by the shows of the 60s and 70s, Takeuchi revolutionized the magical girl genre in the mid 90s (Newson). She combined aspects of male-oriented film, with female-oriented ideology. For example, a popular genre in the 1980s and 90s was super sentai– basically a team of mostly male superheroes that fought together for the common good, such as Power Rangers. Takeuchi took her individual magical girls and turned them into a sentai team, while adding more action not typically seen in girl’s films (Kotani). This broadened the audience demographic, putting the magical girl genre in the spotlight as it’s popularity exploded among male and female viewers. Not only did it create a worldwide boom, it’s effects can still be seen decades later.

Today the influence of the magical girl genre can be seen in western productions, mostly animation. Those who were initially introduced to Sailor Moon as children, were slowly exposed to more “mahou shoujo” works as Japanese companies could capitalize on the globalization. As a result, those children are becoming adults who work in the film, television, and media industry. More and more you see the influence of this genre spring up, especially in television shows. Rebecca Sugar, the creator of Steven Universe (Sugar 2013), an insanely popular series on Cartoon Network, credits magical girl anime such as Sailor Moon and Revolutionary Girl Utena (Ikuhara 1997) for her influences on everything from style to characters, visuals and plot devices. This is incredibly evident as there are scenes that directly pay homage to various magical girl films. The Disney Channel is currently airing Star vs the Forces of Evil (Nefcy 2015), which can be considered the first fully western magical girl series. The show comes complete with transformations, sparkles, and magical attacks. In fact, the creator has been reported as modeling the main character after Sailor Moon herself (Lunning). It can also be argued that Disney has taken cues from magical girls, such as in Frozen (Buck & Lee 2013). Elsa is the only female character to have supernatural and/or magical powers, while her sister Anna is without. While singing “Let It Go”, Elsa is seen transforming into a different outfit using her snow powers, akin to typical magical girl transformations. The overall theme of Frozen is love, friendship, and female empowerment, traits shared by the mahou shoujo genre. As time goes on, it’s clear this genre will continue having an impact on film, television, and media.

Overall, the magical girl genre is extremely fascinating. There are so many aspects and cultural conditions which brought about this unique genre. During my research, I could easily see each stepping stone that made it into what it is today. I believe that magical girls can go beyond anime, because of its core values and themes of empowering women. It can even be used as a tool to promote gender equality. Slowly but surely its influence is spreading across the globe, making its way into film, television, art, even literature. Not just the magical girl genre, but all anime has the potential to cross cultural lines to bring about new perspectives, just as western film has influenced the rest of the world. It really is a two-way street, or perhaps a multi-directional street, in terms of what the world can achieve by bringing their ideas together in a display of astounding creativity.

 

 

References

Kotani, Mari. “Metamorphosis of the Japanese Girl: The Girl, the Hyper-and the Battling Beauty.” Mechademia, Vol. 1, Emerging Worlds of Anime and Manga (2006): 162-169.

Lunning, Frenchy. Women Who Changed Free Expression. 31 March 2015. 17 April 2017.

Newitz, Annalee. “Magical Girls and Atomic Bomb Sperm.” Film Quarterly (1995): 2-15.

Newson, Victoria Ann. “Young Females as Super Heroes: Super Heroines in the Animated ‘Sailor Moon’.” Femspec (2000): 57-81.

Prough, Jennifer S. “Straight from the Heart.” University of Hawai’i (2011): 25-56.

Saito, Kumiko. “Magic, Shoujo, and Metamorphosis.” Journal of Asian Studies (2014): 143-164.

Reflection on Madoka Magica: Rebellion

Kayson Carlin

20 February 2017

Bowling Green State University

 

Connecting the Magia

The “mahou shoujo” genre has existed since the early 1960s, when female empowerment was dominating the globe. Over the years it has gained popularity with children, especially young girls who are enticed by the magic and elaborate outfits. Themes of love and friendship have been the main focus of these films, and there are those that argue that there is nothing more beneath the surface of children’s animation. This belief was challenged with the release of Puella Magi Madoka Magica (Gen Urobuchi, 2011). What started as a cute, magical girl story became a dark deconstruction of ideas and themes present in the genre.

Puella Magi Madoka Magica 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.

Having been released in 2011, Madoka Magica has an updated look compared to classics such as Sailor Moon (Naoko Takeuchi, 1991) or Cardcaptor Sakura (CLAMP, 1996). A current popular animation style is “moe” or “cute”. In this style, characters have soft features, large pupils, and not much attention to small details. Often times, a pastel color palette is used. This is used more for stories with young girls, everyday life, and feel good stories. At first glance this style seems to fit with magical girls, but as the film progresses it proves a stark contrast to the dark atmosphere and questions of morality. Symbolism, imagery, and allegories are rampant in this film, highlighting not only the main characters but the witches and monsters as well.

The main antagonists in Madoka Magica are entities known as witches. These beings have a wide variety of physical forms and corrupt people with their misery, causing death and disaster. Each witch has their own alternate space, like a dimension pocket, where they reside. The imagery within these spaces are trippy and overwhelming, such as dandelions with mustaches and giant scissors that cut cake. At first it seems random, used only to exaggerate how unnatural the witches are, until it is revealed that each witch is actually a former magical girl who has fallen into despair. Each alternate space the witch occupies correlates to their original wish. For example, one witch has the appearance of a mermaid and resides in a dimension filled with instruments, music symbols, sheet music, and the like. This is influenced from her wish that turned her into a magical girl. A boy that she liked was hospitalized, never to play the violin again, until she wished for his health. Upon recovery, the boy started playing but never thanked her and instead started dating her best friend. Her story parallels Hans Christian Anderson’s The Little Mermaid, in which she suffers for a man who ultimately rejects her for someone else, which is why she’s portrayed as a mermaid. While initially thinking her wish was selfless, she realized she had used it to try to manipulate the boy into liking her, turning it into a selfish wish. This brings about the question of if the wishes made by the magical girls are moral, and whether or not they lead to their downfall.

An interesting theory to consider, is that young girls gaining magical powers is an allegory to female sexuality. In this case, becoming a magical girl represents losing their virginity. Each character embodies different portrayal their sexual situation. The main character, Madoka, is seeing all her friends doing it but is hesitant to get directly involved herself. She is seen as the “pure virgin” who is insecure and afraid of taking that step. Mami is a mature, older girl who knows everything about being a magical girl, suggesting she is the sexually experienced one. Sayaka made her wish for the benefit of her boyfriend, implying that she “did it” for the one she loved. One girl, Kyoko, who was born into a poor family, became a magical girl in order to feed and provide for her siblings. This can be seen as an allegory to prostitution, or even human trafficking, as it was in exchange for money and food. The character of Homura represents a darker take. Her power is the ability to time travel, as she tries and fails to desperately fix the events of the past. Thus, she represents the girl who was raped, trying to erase the past but never succeeding. Given that magical girls eventually devolve into witches, it can be said that witches embody adulthood, sex, and the corruption it brings to those who are considered innocent.

Puella Magi Madoka Magica surprised its viewers by the dark, gritty tones it took on while attempting to have the exterior of a children’s show. It has gained a huge following of adult fans who find the deconstruction of the magical girl genre to be revolutionary. To this day there are still people who are actively speculating and arguing the different theories and ideology of this film. There is so much to look at and consider, which makes it an enjoyable, thought-provoking watch.

Reflection of Sailor Moon SuperS: Black Dream Hole

Kayson Carlin

1 February 2017

Bowling Green State University

 

In the Name of the Moon

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 moving drawn images progressed differently in parts of the world, but none quite as uniquely as Japan. It even has its own name, to which everyone knows exactly what is being described – 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. The film I’m looking at, Sailor Moon SuperS: Black Dream Hole (Hiroki Shibata, TOEI Animation, 1995), is more representable as a children’s film than a hardcore ideological driven statement. Nonetheless, it is a part of a franchise that revolutionized anime films and even the country of Japan itself.

Sailor Moon SuperS: Black Dream Hole features the main protagonist Sailor Moon, along with her fellow Sailor Guardians as they battle an enemy who wants to drain energy from the Earth to use on their own planet. To do this, the shadowy villains and their queen lure children into never ending nightmares via hypnosis. The subsequent energy from fear is harvested to fuel an evil empire, and it’s up to Sailor Moon and the Guardians to save the world.

Given that Sailor Moon is animated, there is bound to be aesthetic and stylistic markers. In terms of the art and animation, it is representative of the 1990’s anime look. Hair has stacked volume, and bright colors are splattered onto every piece of clothing. The facial structure of the characters is sharp and defined with heavy shadows. More focus is placed on action rather than soft visuals that are pleasing to the eye. The mise-en-scene of Black Dream Hole uses dark colors to portray that the villains are affiliated with the night and the darkness that it brings. In contrast to this, the “good guys” i.e. Sailor Moon and the Guardians, are associated with light and purity. Even their attacks are nothing more than brightly colored streams of light. This enforces the theme of light vs dark, good vs evil.

Sailor Moon 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, of which Sailor Moon SuperS: Black Dream Hole incorporates all. There are certain anime tropes that are present such as the protagonist having blonde hair, which indicates she is “different” or “special” from the rest of the dark haired population. Sailor Mars is characterized by her long, silky, black hair, which is seen as the perfect standard of Japanese beauty. As such, she is often shown in traditional Japanese attire or participating in culturally significant activities like Shinto prayer.

Since 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.

Despite Sailor Moon SuperS: Black Dream Hole being a standard for children’s animated films, there is depth to the franchise. There are, of course, later magical girl films that challenge not only the common ideas, but the entire construction of the genre. Sailor Moon is just one example of a classic Japanese film genre.

Lessons in the Warriors series

Kayson Carlin

Bowling Green State University

2 April 2017

 

Into The Woods

Reading is an essential skill for children to utilize throughout their lives. Not only does it foster important developmental skills, such as communication, but reading can expand their horizons. Juvenile literature can open the doors to the imagination and creativity, as well as teaching life lessons. At a young age children are more open to fiction stories than non-fiction, and begin using the narratives to form their own perspective of themselves and the world around them. One must be choosy, however, to select a book that depicts an accurate and diverse world like the one we live in. For this reason, The Children’s Book Council was formed, and compiled a list of the top 100 Children’s Books. A personal favorite, Warriors by Erin Hunter, has many redeeming qualities and should be included by The Children’s Book Council’s Top 100 List because it depicts various cultures, represents characters with disabilities, and explores morality in conflicts.

For a bit of background, Warriors is about feral cats who have created a society which is divided into four factions. These factions, called clans, have their own standard of living, however all four abide by a Warrior Code that promotes loyalty, honor, dignity and humility. These clans have developed a hierarchy of power, as well as social customs, and even a religion. The story follows a young housecat that stumbles upon these Warriors, who then must navigate their foreign way of life if he wishes to be a part of the clan. While this book is considered children’s literature, it is intended for older children ages 8 – 12.

An important aspect to consider when choosing a book, is making sure it includes accurate representations of other cultures. In an online pamphlet, the Anti-Defamation League states children’s books “that represent all cultural groups equally will help convey to children that all people are valuable.” Despite being a story revolving around cats, Warriors addresses the topic of different cultures interacting with one another. Each clan, as stated above, has their own customs. RiverClan cats live near a river, and have embraced swimming in water, something that the other clan cats cannot fathom as they do not like getting their fur wet (34). In these interactions, it is shown that despite having differences in daily living, all cats are treated with respect. Another example is when a group of clan cats meet mountain-dwelling cats who call themselves the Tribe of Rushing Water. The Tribe, as they are referred to, have a completely different society and religion. Some cats argue which lifestyle is “right”, and which beliefs are more dominant. Although it takes some effort, the clan cats learn to respect the Tribe’s way of life, eventually learning that neither groups way of doing things are “wrong”. This is explored deeper when there is a clash of religious beliefs. The clan cats believe in “StarClan”, while the tribe cats believe in the “Tribe of Endless Hunting” (214). Both beliefs are portrayed as valid and fully capable of coexisting, a lesson the cats learn after many disagreements. And though they are cats, Warriors incorporates the use of people from different cultural and traditional ways of thinking working together to solve a common goal, which can be applied to the real world. This type of inclusion also extends to individuals.

It seems like characters with disabilities are far and few between, especially when it comes to children’s literature. Having a diverse cast of characters, including those who are differently abled, help show children that not only do these people exist, but that they’re just like everyone else. Warriors does a great job of including cats with these characteristics. Brightheart is a cat with half of her face disfigured and only one eye. She overcomes her obstacles and learns to be an amazing fighter, never letting her disability affect her attitude, thus earning her name (81). She is even praised and looked up to by her fellow warriors. Of course, not everyone can emerge from their battles victorious. Other cats such as Briarlight, who become paralyzed, find themselves helping the clan in other ways like watching over kittens in the nursery and helping them grow. Elderly cats are honored, and revered for their experience and wisdom. It is not unusual to see leaders seek out their advice. Even cats that are completely blind have a place within the community. Jayfeather is a young tomcat that was born blind, who uses his other senses to find herbs, medicinal plants, and even detect sickness in others. Having characters with disabilities reflects everyday people, but it can also act as a mirror for children who are also disabled. Visibility in popular culture builds validity for those who often do not see themselves represented. And if such characters are portrayed positively, it helps increase self esteem with those who identify with them. All these characters who are differently abled are shown to be important, valued members of their community. Valuing others can easily be translated from cats in a book, to people in children’s lives.

A major theme in Warriors is “good versus evil” and the concept of morality. This topic is explored through character development and conflict. There are no completely “good guys” nor are there completely “bad guys”. Characters are presented in shades of gray instead of strict black and white, where all types of qualities are displayed. For example, the antagonist Tigerstar is widely accepted as an evil character, yet he displays traits that are considered “good” such as fierce loyalty. He also displays courageous behavior, something that other cats admire him for (50). Despite his actions that end up causing massive problems, there are still good things about him. This opens the reader to determine the validity of the character for themselves and whether or not there are truly absolutes in the world. Even in the book, cats are divided on what to think of Tigerstar, presenting a complex issue on what it means to be “good”. What one character may view as “bad”, may not be the same to another. In one chapter, WindClan is seen stealing prey from ThunderClan territory. This is considered abhorrent, going against the Warrior Code. When it is revealed that WindClan is hunting prey on other’s territory because their land is experiencing drought, the question of morality is brought up. Taking prey is forbidden, yet there are cats who are starving. Is stealing moral, under certain circumstances? These moral conflicts are often present in Warriors, presenting the world in shades of gray. Instead of commanding a clear line between two sides, everything is mixed. This encourages readers to make their own decisions about right and wrong, good and bad, without dictating what they should think.

While reviewing Warriors, there is an understandable concern that it should not be included in the Children’s Book Council’s Top 100 List because of some of its content. A reoccurring factor in this book is death, a topic that some people may not find appropriate to be present in a book intended for children. An example is that it depicts the death of cats, including kittens. In one scene, a newborn kitten is abducted by an eagle and is taken away, presumably to its demise (88). The death of elderly cats is also included, along with tragedies of younger cats who die in fights or illness.

It’s arguable that the inclusion of death is a topic that cannot be avoided, as it is a fact of life. The depictions in the book are not graphic or violent, which helps present itself to readers more easily. Depending on the reader, it is also easier to digest this topic when the characters are not human, though for some it may be harder because they are animals. However birth, life, and death are shown as a natural cycle of the world, and teaches that though someone is gone from the physical world, they never truly disappear from our hearts. This is a lesson that children need to learn in order to become well adjusted adults.

Warriors is a wonderful book series, with a plethora of lessons to teach young minds. Through complex world building it captures cross-cultural issues that are present in our world today, and breaks it down for kids to understand. Coexistence of different ideologies and ways of thinking is a key concept in this series, helping readers to connect and understand other people in our environment. Overlooked groups such as those with disabilities are included and portrayed in a positive light, reinforcing the idea that everyone has value no matter what they look like or what they are capable of. It also demonstrates how multi-dimensional real people are, by having conventionally “good” characters display negative behaviors, and conventionally “bad” characters display positive qualities. It opens the door to higher comprehension of morality, which can be applied to all types of situations in life. By having all these facets combined into an easily digestible format, children are encouraged to build skills that will help them learn their place in the world. As the author, Erin Hunter is quoted saying “one of the good things about writing a book about cats is that we can tackle difficult human issues such as death, racial intolerance, and religious intolerance [without seeming so heavy].” This is only a portion of what Warriors has to offer. By containing these values, skills, and lessons, Warriors is an exceptional book series that should be included in the Children’s Book Council’s Top 100 list. Surely children from all backgrounds and environments can enjoy and learn from this book and its character. After all, “it doesn’t matter where you come from, only who you are inside” (122).

 

 

Works Cited

Anti-Defamation League. Assessing Children’s Book Collections Using Anti-Bias Lens. New York, 2013. PDF.

Crippen, Martha. “The Value of Children’s Literature.” Oneota Reading Journal (2012). Online article.

Hunter, Erin. Warriors. New York: HarperCollins, 2003. Book.

 

Strays and Puppy Mills

March 11, 2017

How Much is that Dog in the Window?

Kayson Carlin

Bowling Green State University

Pets are beloved members of our family. We play with them, care for them, and live with them just like a human relative. While many families in the United States have pets, such as dogs and cats, there is still an alarming number of these animals on the streets. The overpopulation of stray animals is a hidden epidemic in our neighborhoods. Humans look the other way when it comes to our furry friends, simply because of ignorance. The truth is that there’s a staggering number of domestic pets that are either homeless or waiting in shelters for euthanasia. The population has exceeded what shelters, rescues, and animal lovers can work with. Though there are solutions to this problem such as inexpensive spaying and neutering, or increased awareness, there is a big solution that needs to be worked toward; the elimination of puppy mills and backyard breeders. But first, the main cause needs to be explored.

Although there are a combination of causes that have resulted in pet overpopulation, the existence of “retail pets” is a major contributor. People buy from pet stores, aka puppy mills. A puppy mill refers to “high volume breeding operations populated by poorly treated dogs that are bred at every opportunity, caged their entire life, and that receive minimal health care.” Hundreds of thousands of puppies are born from mills where adult dogs are bred until they die. Then they’re sold to pet stores in malls and shopping centers where people frequent, advertised as designer dogs or specially trained. This “supply and demand” of buying a “purebred” or “novelty” pet keeps operations like these in business. These “businesses” flood the nation with more, unhealthy pets, when there are already so many waiting in shelters. In the past there have been half-hearted attempts to eradicate these places, but obviously have not worked. Other routes have been explored to combat this issue.

A simple solution to help control the pet overpopulation is increased spaying and neutering of all domestic animals. This will prevent litters of cats and dogs occurring. Currently, these surgeries are not cheap, ranging anywhere from $50 to $200. Owners may not have the ability to pay for such expenses, especially in hard economic times. An option would be wider availability of low-cost spays/neuters. Inner cities and poverty stricken neighborhoods should be focused on, with opportunities for discounts and vouchers in those areas, as they are the most disadvantaged when it comes to financial ability. However, these programs have not worked as efficiently as planned due to lack of awareness and education of the benefits of fixing pets. If no one is informed of the overpopulation situation, or the need for spays/neuters, society will remain blissfully ignorant of this issue.

Another solution that ties in with the previous statement, is increased education of this beneficial procedure. Some owners do not fully understand the importance of fixing their pets, or want their pet to have a litter just to fawn over the babies. While this is their choice, there needs to be an awareness to make an informed decision when it comes to breeding. This includes education on both the overpopulation issue as well as health benefits by having pets fixed. According to the ASPCA, “Spaying helps prevent uterine infections and breast tumors, which are malignant or cancerous in about 50 percent of dogs and 90 percent of cats. Spaying your pet before her first heat offers the best protection from these diseases. Neutering your male companion prevents testicular cancer and some prostate problems.” It is evident that this prevents unwanted litters, as well as prolonging the life and health of your pet. Owners should also learn of the unintended consequences of their actions when it comes to breeding, including the possible fate the litters face such as increased homelessness, shelter residence, and even death. Unfortunately, even with responsible owners, there is still too many domestic animals sick and without homes.

The main solution to this heartbreaking issue is shutting down puppy mills. An Albany Law Review from 2011 states “The Humane Society of the United States estimates that in 2009 approximately one-third of the nine-thousand pet stores across the country sold puppy mill born puppies and that between two and four million puppies produced by puppy mills are sold each year.” Yet millions of dogs and cats find themselves in shelters, not including those who live on the streets. While waiting in these shelters to find a home, many are euthanized due to space. When an animal is bought from a pet store, another one in a shelter is effectively handed a death sentence. Not only is this atrocious, it demonstrates the massive influx of unnecessary retail pets, way more than what humans can properly attend to. A solid plan to eradicate backyard breeders and puppy mills is needed. This can be done with the help of state or federal funds, or even donations from pet-friendly businesses and animal advocacy groups. Forming a task force with said funds to investigate and close these businesses is greatly needed, along with imposing harsher penalties for offenders. Everything must be done to deter these operations from springing up in the first place. It would also be beneficial to ban pet stores from selling cats and dogs, and instead cooperate with the local humane society to foster animals currently up for adoption. The Humane Society in Dayton, Ohio has adopted this practice and provides a proven example in the real world. A local newspaper quoted the director of the shelter saying “last year we had maybe 300 cats adopted in our humane society building, and 1,500 at outside locations.” This is a step in the right direction, and shows that it is economically beneficial to cities, companies, and would-be pet owners.

Those in favor of breeders and puppy mills claim that these places are not harmful to the animals. Furthermore, they provide specially raised, sought after pets per breed and/or training. They assert that the operations merely accommodate for the supply and demand of pets, a cornerstone of our capitalistic economy. However, those who make these claims are deeply misinformed.

There is a difference between legitimate, licensed breeders and backyard/puppy mill operations. Licensed breeders are approved by law to properly care for animals, and play a major role in preserving the integrity of the breed, by genetics. They also provide highly trained animals for use in medical services, law enforcement, and competitive show. Under the radar operations are not approved and often abuse their animals for the sake of turning profits. Ill and poorly trained, the animals are also used in scams to deceive people who are willing to pay big money for quality, not just for show dogs but service dogs as well. They irresponsibly churn out way more puppies and kittens than what can be contained and taken care of, without concern for the well being of both mother and babies. They have been condemned by governments all over the world as ethically immoral and illegal.

This is a problem that breaks the hearts of animal lovers everywhere. One would think that humans would take more responsibility for something they have attributed to. Nonetheless we have a duty as the dominant species. There is hope, especially for future generations of pets. Complete eradication of puppy mills and backyard breeders will drastically reduce the enormous number of homeless animals. With the help of the local and federal government, and engaging the public with resources, domestic pets all over the country will have higher odds of having a home, thus reducing the overall population. There is still a ways to go to achieve this long-term goal, but it is definitely within possibility. After all, we love the animals in our lives, and they deserve it.

 

 

Works Cited

ASPCA. (2017). Spay/Neuter Your Pet. Retrieved from aspca.org: http://www.aspca.org/pet-care/general-pet-care/spayneuter-your-pet

Kenny, K. (2011). A Local Approach to a National Problem: Ordinances as a Means of Curbing Puppy Mill Production and Pet Overpopulation. Albany Law Review, 379-406.

Specialty Retail. (2009, Spring). Dayton Mall Purr-fect Setting for Meowza Cat Boutique. Dayton Daily News.