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Halfway into the Shoujo Kakumei Utena anime and again half through the recent trilogy of stage musicals of which two are complete and had their first runs , Utena has to accept that she has a responsibility when she prods or pushes those she has power over to doing her will. She wants Anthy to act a certain way, and while she has power — or a level of affected control — over Anthy, she capitulates to this. In the same way, those who have power over Utena have a responsibility, even a culpability, for how they treat and direct her. This includes Anthy, who has far more — and far more insidious — control over Utena, because while Utena is a well-meaning teenager, Anthy is an ageless or liminally-aged ancient witch, suspended in an adolescent mindset by shame, trauma, fear, abuse and bad habit. Much of all tellings of Utena — and they are tellings and retellings, evocations of a true story we may never apprehend — the musicals, the television program, theatrical movie, manga and standalone art pieces, all center around shame and the way in which shame structures our self-identities, the identities we show publicly, and even our pride. When we talk about this world of Shoujo Kakumei Utena being a reflection of another or a world being an escape from another, what we generally do, is to pare down the world. But, in daily life, in our own world, the ostensibly really real world, we do the same. We pare it down. Not necessarily simplifying, but parceling. We take a focus. Even the ways we describe what we do, how we do, shapes what we think we have done. We give a fictional cosmogony to us. To this. When I write, here, about this , Utena or Shiori or someone else from Utena cannot know what I mean, because they have no genuine autonomy. But, I know Utena, I know Shiori. Boy howdy, do I know Shiori. And, I can decide what they understand about what I wrote without having to deliberately think it out. I am not solving a mathematical formula, I am sight-reading. I read everything twice as fast as I can because I am dyslexic and because my vision is getting worse and between those two things, I am probably more terrified than I know. Which, is a narrativizing lie. It terrifies me. I correct misspelled social media posts seconds after I post them, except Twitter which will not let you. I live in gratitude to editors who fix everything, who will fix the errors in this chapter and the rest of Us Living in Fictional Cosmogonies. When I edit, I guarantee you I read what I am editing more times, and more carefully, than anyone else involved. I have to. Every one of us is more perceptive than we let on, because life, as it is lived, teaches us not to admit it. The most recent tellings of Utena , in comics and musical theatre form, have been — of course — heavily influenced by earlier tellings and retellings, but distinctly healthier. In the initial versions of Utena , the original manga and anime, homosocial relationship are inherently predatory or they are romance that is not romance because the characters are closeted or the narratives will not approach a clarification. Through incredibly similar scenes and an emphasis on a shared enjoyment of food and drinks, they are able to become friends. To be friendly. The character of Kozue is pulled away from being quite as internal as she is in other versions, and the expressiveness, while it serves a stage performance much better, is also more open and feels genuine, feels like she is a person more than a reflection or refraction of her brother, who in the earlier tellings has always had more initiative and focus. Adolescence seems to take some of that note from the Twin Peaks theatrical movie, Fire Walk With Me , which similarly presented characters we all felt we knew, but in a way that showed us part of them that felt opposite, even felt opposed to what we knew. One of the actors from Twin Peaks flat refused to do a scene in that film because it was too opposite his understanding of his character. There is an acting technique often utilized by Martin Landau, which hinges on the idea that people do not do, so much, what they want, they do things to avoid or cover up what they do not want. When he played Bela Lugosi in Ed Wood , he handled the accent by playing a man who does not want to have his accent. He has his accent and he is trying not to. He is affecting bravery, affecting hubris and confidence. Characters in Utena , like Saionji, Juri, or Utena affect a maturity they do not have, and characters respond to the affectation. A savvy character, like the manipulatory demigods, Anthy and Akio, can see through the pretend adultness, but some adults are fooled; many of their classmates are fooled. Sometimes, they fool themselves. When we see Saionji and Juri again in After the Revolution , their adolescent immaturities and their adolescent weaknesses feel more resonant, more pronounced, but only because they have aged and have not grown out of them. They grew into them. They have not yet understood that there is revolution for them as well as for special someones. After the Revolution makes it apparent that this applies, as well, to other genders. Everyone or anyone can have or experience a revolution, a miracle. We had seen this all along, but even if we understood what we were seeing, what we were understanding and taking in, to voice the understanding was probably too threatening. The manga voiced it, so that we, also, can take the risk. Now we are bolstered. We are supported. Writer of the Patricia Highsmash column. Former faculty, Shandong University. Director of short films, including low fruit. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. Post comment. This site uses Akismet to reduce spam. Learn how your comment data is processed. Skip to content. Facebook page opens in new window X page opens in new window YouTube page opens in new window Instagram page opens in new window. User Menu. We learn young. Me writing vs me editing my writing. User Review 0 0 votes. Comments Rating 0 0 reviews. Share this: Facebook Twitter Tumblr. Like this: Like Loading Related Posts. An Elder Folds Paper October 21, Leave a Reply Cancel reply Your email address will not be published. Review Title.
Utena is a well-meaning teenager, Anthy is an ageless or liminally-aged ancient witch, suspended in an adolescent mindset by shame, trauma, fear, abuse and bad.
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Time travel is extremely dangerous! With a show like Utena , which reuses particular sequences, like the climb up the stairs to the dueling grounds, a secondary form is, Do you skip the reused footage? Many do. Now, I am, myself, weird about television. I have never really, truly minded turning off an episode of tv, a movie, a song, putting down a book or leaving a listicle unfinished. I can love a tv program, but if someone wants to watch something else, if something comes up, if the power goes out or I receive a call, regardless of how into the show I may be in the moment, I can turn it off, pick it up later or never. Because of this, I sometimes worry I do not love programs or works enough. Maybe, I do not. But, the opening credits of a program feel like part of the program to me. Reused footage, whether a brief insert or full scenes, feel an intentional part of the show. I love them, because I love reuse and repeat footage, on its own terms, but I also love it if there is a sense of ritual to the reuse. The opening and closing credits, their music or narration, the visuals and visual style can feel religious. They should feel religious. Who is ready to see Dorothy and Blanche and Rose and Sophia if nobody thanks us for being a friend first? You, mythic reader, have your way to wake up in the morning, your way to go to sleep. You have your moments in your day, which you repeat, maybe not every day, but often. You have the sounds you most often wake to. A relative of mine uses cricket sounds as her alarm, and I would never wake up to cricket sounds. Cricket chirps are what you try to sleep through. I used to have breakfast with a friend on the other side of the planet, at about my ten at night, and if I slept through it — a nap that turned into the real deal, an early night in — it threw their morning off. Daily rituals, weekly rites, are the repetition of adolescence, but also young adulthood, middle age, childhood, old age. The rituals may change, but that there are so many does not. It could be that it is better to embrace them than to buck against. Recycling cells, whether background or foreground, recycling sound effects into dubbing are were most often not aesthetic choices, or, if aesthetically applied, that was not as a first choice. Series like Utena , Sailor Moon , or Neon Genesis Evangelion were created at breakneck speed, with a show like Evangelion pushing the completion of episodes against their televised debut so closely that the episodes sometimes could not be prescreened by the debuting station at all. Releasing in the post- Evangelion difficulties, Utena was scrutinized more intensely, meaning that animation was more tightly controlled but also more subject to abrupt alteration, increasing the difficulty of the production schedule. All there are, are people who were brought along by the founding of the system. How do two formative shows of the s have recycling and reuse forced on them, affect the world in which one of those shows exists? These worlds, like it or not, at commentaries on the world in which the creators and talent find themselves. It is better to deal with that up front. In the middle s, much of the world had found itself developing the bingewatching culture of today, as cassette tapes and laserdiscs made replay of entire series suddenly plausible. While many markets would not take advantage of the enthusiasm of marathon-watching a show, the anime industry did latch on in a big way. The talent making programs like Evangelion and Utena were more than aware that not only would the show be seen in weekly broadcasts, but that even before the commercially released home media recordings arrived in stores, audiences would be taping it themselves, directly from the original broadcasts, and rewatching. For a variety of reasons, this becomes difficult in respect to Evangelion , or the later, Cowboy Bebop , but Utena , with its lengthy preproduction schedule and aesthetically-innovative crew, is able to take standard recycling and deadline-crunching, financially-strapped reuse and turn them into something operatic and magical, by embracing the system, and with the power of rhythm. Significantly reused segments, such as the trek to the dueling grounds or the naive selling of ones soul to Mikage and Mamiya, which follows a repetitious confession in elevator, highlighting of framed pinned butterfly, agreement, fight, loss, coffin, into fire, close door, back to ab normal , establish themselves as reuse but also as flow, as inevitability. Just as in your life you had to walk the same steps to attend a class or have taken the same path to work or to visit a friend, the most-repeated segments of Utena are journeys. They are causal connections. And, they allow for variations to have significance. When an agreement with Mikage is greeted with refusal or detour it is given potency by all the times which did not vary. They are also dances of imagery and sound. They are performed to a specific song, that music being more than background accompaniment than in usual television soundtrack use, directing and framing the motions of the scenes. Most of what the people living at Ohtori believe is their freewill, their decisions, their appetites, their consequence, is developed ritualistically for them. Knowingly or naively, the children and adults perform trained dances. In essence, the world of Ohtori is prerecorded. It affects us. Having to satisfy a variety of very different audiences, Utena trains its audiences the way the characters in the world have been trained. Sometimes, very seriously, in the same ways. Utena educates its audiences on sets of symbols, sequences of non-causal happenings, repeating them, drawing attention to their significance but not their purpose, their being but not their mechanics, so that very quickly, the audience are unified in acceptance of the Shadow Girls and their dadaist morality plays, the hyperreal gag episodes focusing on Nanami or making magic explicit while deniable, the ritualistic replayed scenes, and non-diegetic visuals like the spinning rose animations or arrows and inserted emphasis shots. Utena does all it can to enhance our awareness of the artifice of show and world while playing the world as real as a set on a stage is played. Stacking, even staggering the layers of affectation, Utena makes it maybe more comfortable to accept the emotions and the social politics portrayed, than a naturalistic approach could afford us. The reuse and re-emphasis of symbols as symbols, like the classical arrangements and mise en scene or the homaging of fairy tales, earlier animated programs, classic shoujo comics, and bildungsroman motifs, allows basic, human truisms to have the resonance and elevated significance of religious art. It is through the playing of the play, that fart and poop jokes in Shakespeare attain their resonance as universal impacts. Utena infamously achieved a level of sophistication and mature content, of sexual and sexually-coded content, on Japanese television during an era, after Neon Genesis Evangelion , which was restrictive and cautious. From Steam Detectives to Cowboy Bebop , to the exiling of programs to midnight and post-midnight showings, the post- Evangelion broadcast world was fraught with cancelations, preempting, sudden new demands, station diktats, and Utena goes full on with sexual cruelty, with suicidal ideation, incest, abuse, sexual confusion, homosexual awakenings, even if they could not, still, show a homosexual kiss or deal with a homosexual relationship in clear terms. Utena is so intrinsically and complexly queer-coded, it has its own queer-kanji of visual and scenario. Utena does not need to show us much explicitly, because it is all explicitly coded. Symbolism abounds, but the structure of scenes and sequences in Utena are mimicry of other mediums, other stories, other story modes and genres. Utena escaped the threat Miki and Saionji present in breaking up the homosocial bonding by accepting a drink from Wakaba. Homosocial is not homosexual, but it is homo-intimate. And, in Utena, it is difficult for anyone to parse the separation in any way except anxiety. By mimicking traits that feel familiarly passive or socially accepted, the taboo, the intimate, the revelatory are put into play, are performed as routines and expression is allowed. Ohtori and the Utena world give themselves form by mimicry and mimesis, but the show and the world behind the show of the world are concocted and defined by echoing themselves until the variations and themes resonate so strongly as to form radiant, echolocutionary forms. Utena shaped pingback bodies and spiritualities with reaffirmations, re-firmament, reusing elements until they gain their own traction and tractive meanings beyond first exposure or what they resemble from pre- Utena exposures. Utena winks knowingly, conspiratorially, to its audiences, but Utena also winks so often the audience is unsure how much winking to take seriously, and so, too, censors and professional worriers. Fans have consistent debates over the minutiae but also the major aspects of Utena , as show, story, world. The most blatant and laboriously explored aspects of Utena retain so much potential for misinterpretation and misunderstanding. Sometimes, characters will be inserted into later seasons or sequels to acknowledge the frustration. Money makes no sense in the Gilmore Girls world — people are broke but spend lavishly — and characters like Kirk either only arrived in town during the first season or have lived in town their entire lives. Religiously-termed elements of Evangelion may have no religious significance or maybe they do. The friends in Friends do not age causally or as we do. Sometimes, a character walks up a set of stairs in a house and they are never mentioned or seen ever ever again. Time and the calendar distend for the war. Like Saionji we keep our interpretations close to our heart. These can drive fans up the wall, if the fans wish to treat those worlds as causally close to our own. Such correlation is only more winking, and more confusing winking. Utena can be replayed tomorrow, retold tomorrow, retold the tomorrow after tomorrow. So long as there are schools and their are children, there can be Utena. Echoes of the the Candy Candy short films are quite loud in the prince on a white horse milieu of Utena , without one being a copy of the other. People watching these out of order are ready for Candy Candy to get dark. Utena is a radical demonstration of how to approach media, fiction, story, and life. The television telling teaches us television. The manga is a love song to manga, while also a criticism. The movie, the musicals, reflect their mediums and reflect on their mediums. Rather than the story, the telling, the demonstration is a rite. Each telling is a telling to us , an invitation and inauguration, an initiation for us. Writer of the Patricia Highsmash column. Former faculty, Shandong University. Director of short films, including low fruit. Your email address will not be published. Save my name, email, and website in this browser for the next time I comment. Notify me of follow-up comments by email. Notify me of new posts by email. Post comment. This site uses Akismet to reduce spam. Learn how your comment data is processed. Skip to content. Facebook page opens in new window X page opens in new window YouTube page opens in new window Instagram page opens in new window. User Menu. Shoujo Kakumei Utena: Ritual. They bring us Utena! The evocation of meaning is meaning. This is queer. So is this. We look as closely as we can. User Review 5 2 votes. Comments Rating 0 0 reviews. Share this: Facebook Twitter Tumblr. Like this: Like Loading Related Posts. An Elder Folds Paper October 21, Leave a Reply Cancel reply Your email address will not be published. Review Title.
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