2019 | 29 | Themenheft

Browsing 2019 | 29 | Themenheft by Subject "Charakter"

Now showing 1 - 5 of 5
  • Article
    Characters of the Future. Machine Learning, Data, and Personality
    Lamerichs, Nicolle (2019) , S. 98-117
    Fictional characters are changing from passive entities into active learners. New technologies are curating how characters speak, what they know, and what they can learn. Disruptive technologies, such as artificial intelligence (AI), robotics, and big data are changing what characters are, how they behave, and what media and texts they belong to. The ownership and authorship of char-acters is shifting from the professional creative industries to fans themselves. In this study, I analyze new tendencies and trends of how characters are in-creasingly based on new technologies such as chatbots, intelligent personal assistants, and holograms. I close-read different characters, such as the per-sonal assistant Azuma Hikari and the hologram Hatsune Miku. An important theme that emerges in the discourses and narratives surrounding these char-acters is the meaning of artificial life and death. I analyze this recurring topic in-depth and conclude by theorizing the possible future of characters. Overall, I will argue that characters should not be read as passive entities authored by one specific instance anymore. Increasingly, characters are crowdsourced, highly technological-based, and self-learning. The future of characters, I argue, is therefore strongly mediated and interactive. New technologies are going to make us see characters in continuously new lights as well. In media studies, characters might best be understood as highly networked, non-human agents.
  • Article
    Deviating Voice. Representation of Female Characters and Feminist Readings in 1990s Anime
    Ishida, Minori (2019) , S. 22-37
    In the 1990s, Japanese anime sophisticated both their ›visual database‹ and their ›voice database‹ for their character design. These two ›databases‹ usually cooperate in a complementary manner in order to construct characters for an audio-visual medium. In the following article, however, I am going to point out that there are always possibilities of deviation, because, fundamentally, the visual appearance and the voice of the character are created independently. This has, in fact, opened up the possibility to introduce a new style of charac-ters like Haruka Tenou, one of the most popular characters in the Sailor Moon series (1992–1997). According to Azuma Hiroki, moe (affective responses) to-ward characters had drastically altered the reception of anime in the 1990s, preparing the way for the so-called ›kyara-moe‹. Within otaku (fan) cultures, however, another kind of reception took place, which was inspired by female, queer characters, such as Haruka or her successors. Feminist audiences who experienced moe toward these characters interpreted them enthusiastically: with regard to the gender and the sexuality of the protagonists, they created their own narratives.
  • Journal Issue
  • Article
    »It’s true, all of it!«. Canonicity Management and Character Identity in STAR WARS
    Kunz, Tobias (2019) , S. 60-80
    Taking as its object of study the character of Grand Admiral Thrawn from the STAR WARS franchise, this article examines how character identity is managed in narrative transmedial franchises. Focusing on the notion of ›canonicity‹, it suggests a way of conceptualizing how hierarchical systems of continuity can affect the mental modelling of characters. Furthermore, it discusses what strat-egies are employed—both textually and paratextually—to maintain a sense of character identity in the face of a reboot like the one undergone by STAR WARS in 2014.
  • Article
    Recontextualizing Characters. Media Convergence and Pre-/Meta-Narrative Character Circulation
    Wilde, Lukas R. A. (2019) , S. 3-21
    This introduction to the topic of character recontextualization sets out to ad-dress a variety of character products that cannot be adequately described as ›narrative‹: Coffee mugs, clothes, office supplies, and other material objects. Fictitious entities such as Hello Kitty or Hatsune Miku have given rise to a veri-table wave of literature in Japanese studies outlining a ›pre-narrative character theory‹. Characters without stories, based entirely on highly affective iconogra-phies, often function as hubs, interfaces, or intersections for diverging ›games of make-believe‹ that are in turn often forms of an aesthetic, medial, social, and especially diegetic recontextualization. Consequently, every pre-narrative char-acter could also be addressed as a decontextualized, trans-fictional, trans-world, or »meta-narrative nodal point« (AZUMA). Often, these recontextualiza-tions take place within the collaborative networks of participatory culture, high-lighting the decontextualized character state as central to what is known as ›media convergence‹ or ›media mix‹. I will situate these discussions within the field of international character theory, arguing that a systematic divide runs through existing literature on how to deal with decontextualized, trans-fic-tional, trans-world entities. My article closes with some indications on what a discourse often seen as specific for Japanese studies, might contribute on a variety of international phenomena and perspectives.