Artistic images as a reflection of changes in Japanese society: Dr. Kosaku Tokita in the anime "Paprika" by Satoshi Kona

Moiseenko Vera Sergeevna Postgraduate student, the department of Art History, Far Eastern Federal University 690062, Russia, Primorskii krai, g. Vladivostok, ul. Pecherskaya, 6, of. 60 mononoke.ve@gmail.com Other publications by this author

Introduction. The artistic image carries the author's ideas about the world around him, and his versatile research in this regard will never lose relevance – it is a unique means of cognition for the reader, for the viewer. A person has a need to receive a variety of information, and it is typical for him to perceive the world around him with the help of art. The artistic image as an artistic reflection of reality is one of the basic categories in art and aesthetics.

The purpose of the study was to trace how Japanese animation follows changes in society and reflects them through the prism of the author's vision. We have already explored this aspect using the example of a female artistic image. The subject of our current study is the artistic image of modern Japanese; the object was the image of Kosaku Tokita in the anime directed by Satoshi Kon "Paprika".

Methodological base and research methods. To consider the theoretical foundations, we turned to the works of E. B. Borisova ^[1], S. A. Gilmanov ^[2], S. N. Grishin ^[3], Y. L. Dmitrieva ^[4], A. A. Kerzhenova ^[6], N. L. Malinina ^[7]. As for the aspect of studying anime directly, the works of A. Fedorov ^[11] and K. Wasylak ^[13] are of interest. We used primarily the comparative method, the method of system analysis, content analysis and, of course, the empirical method.

The novelty of the research can be defined as the introduction of new, previously unreported material into scientific circulation. We have not identified any works on the study of the male artistic image in the anime Satoshi Kona "Paprika".

Research materials. The structure of the artistic image embodies both generalization and concrete sensuality, both objective and subjective, both expressible and inexpressible. It "... develops through the juxtaposition of binary oppositions in constant dialogue: truth and falsehood, thought and emotion, knowledge and faith, visible and invisible, sign and image" ^[7]. An artistic image is also understood as a personalized component of a work [see: 2].

The image is usually interpreted as a mental reproduction of an object, information about it or its description, and the main distinguishing feature of the image is its integrity and isolation from the general stream of impressions. It acts as an integral element of the processes of cognition and thinking, an integral part of the concept. An artistic image reveals the culture of a certain society and/or a certain era, allowing you to compare cultural norms and values [see: 4; 6]. The artistic image is characterized by clarity, relative autonomy, standard, expressiveness, integrity in the expression of the author's emotional activity.

In this article, we turn to the world of artistic images of Japanese animation using the example of one of the most famous works of the anime genre – "Paprika" directed by Satoshi Kona (2006). It should be noted that anime does not often become the subject of research by Russian specialists; among those studying various aspects of this phenomenon, it is worth mentioning first of all domestic authors D. E. Lipaeva, E. S. Sychev, A. H. Gabdullina, R. Y. Artemov, A. I. Denisova, S. S. Shaulov.

Japanese animation has a number of aesthetic and stylistic features that define the visual environment of anime. First of all, this is the use of the limited animation method in anime. K. Wasylak in the article "Need for Speed: Anime, the Cinematic, and the Philosophical" notes: "Limited animation is aimed at reducing the total number of drawings ... it may seem less beautiful because the smooth flow of action and movement of characters is interrupted. ...The advantage of limited animation is that by drawing fewer frames, artists can pay more attention to drawing the background and working out small details that allow them to better convey the emotional range of the work. ...In anime, the focus is on the dialogues, emotions, and reactions of the characters… which can contribute to the creation of a special atmosphere of the space of the work" ^[12].

One of the world-famous creators of anime, who professionally used not only classical techniques, but also created his own copyrights, is Satoshi Kon.

It is worth briefly recalling the plot of "Paprika", created based on the novel by Ya. Tsutsui: a group of scientists invented a device originally for the treatment of mental disorders. — DC Mini. It is believed that the abbreviation DC means "Dream Catcher", the device allows you to invade other people's dreams. Atsuko Chiba and Dr. Kosaku Tokita, who is in love with her, are at the head of the team of creators and developers. During the testing of the device, Atsuko, in violation of scientific ethics, uses Paprika, her alter ego, a young girl who has absorbed the best female traits based on the Japanese mentality, to help patients in the world of dreams. The theft of the DC Mini led to the fact that the dream of a madman began to infiltrate people, driving them crazy. The thief pursues the goal of becoming the ruler of the world. Atsuko Chiba and her team are trying to get the device back. Along with scientists, Detective Toshimi Konakawa is searching for the device. As a result, the person who stole the device turns out to be their boss. Paprika saves the day.

So, in the work there are "basic" artistic images for any culture – images of a man and a woman. In Paprika, a woman is chosen for the role of the main character. Many analysts reasonably believe that modern Japanese mass culture has a predominantly female face, which is associated with a change in the role and position of women in modern Japanese society ^[5]. In the novel "Paprika" there are two female characters: Atsuka Chiba (a female psychiatrist, one of the developers of the installation) and Paprika, a girl from dreams that merge into one. The female artistic image in the anime "Paprika" requires a detailed separate consideration (see about this: Moiseenko V.S. The artistic image of a modern Japanese woman in the anime Satoshi Kona "Paprika") but, of course, it goes only in strong conjunction with male artistic images, is shaded and complemented by them.

At first glance, in the anime "Paprika", two heroes can claim the role of the main male character at once: detective Toshimi Konakawa, at the same time a patient suffering from neurosis, and her colleague Kosaku Tokita, the inventor of the DC-Mini, who is in love with Atsuko Chiba. Satoshi Kon spends a lot of time drawing the image of a detective. But we have reason to believe that some characteristics indicate that Satoshi Kon considers Tokita to be the male protagonist. In our opinion, the artistic image of detective Toshimi Konakawa is quite typical, including for Europeans, and the impression of "primacy" is caused primarily by the fact that the author of the anime devotes a lot of time to the appearance of the detective on the screen. The image of Kosaku Tokita is more original, brighter, more complex. And, most importantly, for both Japanese and European viewers, he demonstrates, first of all, the features of a Japanese man, although "surrounded" by the globalization processes of leveling cultures.

Let's turn to the characterization of Kosaku Tokita in the novel by Ya. Tsutsui (1993), according to which Satoshi Kon shot the anime "Paprika": the hero is obese, weighs more than a hundredweight, lives with his mother in a house for employees, is not very talkative, is complexed. If in anime the external image of Dr. Tokida differs little from the literary one, then the artistic image as a whole – his character, life position, gravitations and inner world – in anime acquire quite complex forms, and it is difficult to attribute it to any particular familiar category.This determined the choice of visual media. Tokita's portrait, the image of his appearance and the way he dresses, acts as one of the sides of his image. His actions give a more complete picture of his character.

The material shell of an artistic image is the external form, dialectically connected with the internal one in the process of their interaction. The external form, unlike the internal one, makes the artistic image recognizable and generally significant ^[3].

Tokita appears in the eighth minute of the anime, stuck in an elevator door that is narrow for him, with the phrase: "I'm in a quandary." He is a large, obese, middle-aged man with drooping cheeks, slightly sloppily dressed (Fig. 1) ^[12].

Fig. 1. The scene of Kosaku Tokita's first appearance in the anime "Paprika"

The viewer sees the following artistic device: the doctor does not correspond to the standard size of the elevator: neither in height nor in size, especially compared to Atsuko Chiba. Just as his personality does not fit into the accepted standards of society. Next, including through dialogues, an artistic "portrait" of Tokita is assembled.

Tokita has a peculiar sense of humor and unexpected boyish "talents" – for example, he opens a locked door with a lock pick. His boyishness is noted by colleagues: "Inside he is just a child!", "He is a child in the body of a genius", "Our child prodigy", "Food eater and genius of the century". Others perceive him as a clumsy, but nevertheless recognize his genius and envy him.

Satoshi Kon adds dreaminess and romance to the character with the help of background and composition. Tokita literally "hovers in the clouds", talking about how he always dreamed of seeing the dreams of his friends (Fig. 2).

Fig. 2. The expression of Kosaku Tokita's dreamy character through symbolic artistic means

The "childishness" of the scientist is also emphasized in the prices with sleep, where the scientist appears in the image of a toy robot from his favorite amusement park (Fig. 3).

Fig. 3. The image of Kosaku Tokita in dreams – a toy robot from an amusement park

In the Japanese Kabuki theater, which largely determined the narrative specifics of Japanese cinema, we see two types of characters: tateyaku (noble, brave samurai who put their duty to their master above personal attachments) and nimaime (beautiful, but weak-willed, not gifted with great intelligence and talent, objects of female love and care) ^[11].

The image of Dr. Tokita is not typical of traditional Japanese male images – strong, determined, courageous "samurai". The image of a samurai is undoubtedly attracted by the image of a detective. Tokita is also not an exponent of the popular image of Bisenen – a fragile, feminine, handsome young man. Kosaku Tokita is quite close to the image of a scientist immensely passionate about his invention – this image is also widely popular in Western modern culture; as well as to another, characteristic and for decades relevant to Japan image of an antisocial recluse – Hikkikomori, living only in his fantasies.

Today, the term hikkikomori (hikki, hikkans) has become widespread among young people – they call young people who spend all their time on the Internet, while they live at the expense of their parents or on unemployment benefits ^[8]. Hikkikomori, as a rule, almost completely limit their social circle to 1-2 people, sometimes even cutting off their ties with family and loved ones, and do not go outside. They eat either instant food, or snacks and other food that is not recommended for regular consumption. But despite this, they are satisfied with the life they live in their four walls of an apartment or room, depending on their financial situation ^[10].

Dr. Tokita, on the other hand, is moderately sociable, emotional, direct, loving delicious professional dishes, demonstrating an excellent appetite even in a difficult situation – against the background of a situation of industrial deadlock, he sincerely enjoys large portions of food. However, we see a sharp metamorphosis as soon as it comes to a scientific experiment – Tokita has just enjoyed a delicious meal, and instantly his tone becomes stern when he moves on to serious scientific calculations. His apparent carelessness immediately disappears, and an experienced professional is already immersed in science in front of the viewer. The scene where Atsuko and Tokita discuss the director's condition speaks eloquently about his seriousness and the analyst's mind – the good-natured smile disappears, Tokita's face is focused when he accurately states the reason for the director's inappropriate behavior and interprets his dream. Tokita realizes the essence of their discovery, which is fraught with danger for the whole world, the duality of the possibility of using it – from good to evil: "The introduction of dreams into someone else's mind is terrorism," he tells colleagues.

Further, Dr. Tokita's physical characteristics are also indicative: in different cultures, fat people, as a rule, personified good–naturedness, stability, reliability - by analogy with a circle or a ball, as well as health and prosperity. In the figurative symbolism of Japan, the circle means the spiritual world and one of the most significant primary figures is the circle. If we turn to the symbols of Buddhism, then in Buddhism the circle is a symbol of Heaven, Unity, contains the impulse of creation, the beginning of all beginnings, the comprehension of the equivalence of Earth and Heaven ^[9]. The viewer feels reliable by watching Tokita follow Atsuko – always a few steps behind, as if covering her from behind. This interrupts Tokita's sense of "insignificance" and Atsuko Chiba's "strength" and leadership. Tokita is also no stranger to jealousy, although he clumsily tries to hide it.

Also, his facial expressions are given more emotionally, his character is drawn more clearly and he cannot be called a "recluse" in any way. Thus, the artistic image of Dr. Tokita cannot be categorically attributed to hikkikomori – he is more open, emotional and social.

But, although Tokita, who is often in love with "Atsunechka", looks like her shadow, in no way resembling the image of the "samurai", Satoshi Kon draws him as an integral and self-sufficient character. It should be noted that according to the canons of the anime, Satoshi Kon graphically "distinguishes" Tokita (as well as Paprika) from the rest of the characters – his eyes are larger and rounder than those of other characters, including Atsuko Chiba.

Conclusions. So, it can be noted: the success of an artistic image is determined by its relevance, attitude to the object of reflection, to the idea. Compared to all the images of men in the anime "Paprika", it was the artistic image of Dr. Kosaku Tokita that turned out to be multifaceted, unusual, complex, and, along with national traditional features, innovative in many ways for Japanese anime of the early 21st century. This suggests that the place of the male protagonist in the anime "Paprika" Satoshi Kon certainly gives Kosaku Tokita, "mixing" the typical characteristics of traditional images and adding a touch of modernity. By creating an artistic image, Satoshi Kon summarizes the elements of real characters.Such an unusual artistic interpretation for Japanese anime is a confirmation that the artistic image is primarily a reflection of the world, society and culture, Satoshi Kon is a representative of Japanese society, which is rapidly changing, and Japanese culture is changing, its traditional images that have existed in the Japanese cultural space for centuries. The European viewer, due to the fact that the anime genre has gained the widest popularity, naturally plunges into the environment of Japanese realities, along with the fact that he is familiar with Western nuances, which are sufficiently saturated with modern Japanese animated films.