Shadows of the Sun

An inscription on a Chinese statue of Amitabha dated 746 AD reads, “As a matter of general principle, the highest truth is devoid of any image. But if there were no image, there would be no possibility for truth to manifest itself. The highest principle is without words. But if there were no words, how could the principle be known?” From the point of view of an art historian and through the example of a short animated film proposal, this essay investigates the ways in which strategies specific to animation, such as narrativity, metaphorical potency, metamorphosis, and most importantly, the capacity to penetrate intangible dimensions, mitigate these challenges. The author argues that animation offers a more efficacious medium than static images and theory in evincing Buddhist dharma; namely, that in the process of depicting Buddhist thought and practice, both the activity and product of animation become sites of merit-making and means of spiritual transformation in themselves.

Interpreting Buddhist Influences in Kawamoto’s Puppet Animation

In the field of Japanese independent animation, the late Kawamoto Kihachiro (1925-2010) made tremendous contributions. This chapter discusses in particular his puppet animations which are steeped with Japanese native beliefs and elements of Buddhist thought. From a clinical psychologist’s perspective, the author analyzes the spiritual dimensions of his work, particularly highlighting the native traditions and assimilated foreign thought systems that are encased within his creations. Specifically, The Book of The Dead (2005) is examined in the essay as it was created when Kawamoto was eighty years old. Issues like mid-life crisis, death, and other related matters are explored as the author surveys the creative and personal life of the master-animator. The author’s interpretation posits that Kawamoto’s puppet animation essentially tried to express the concepts of suffering and enlightenment, and that his work is related to his profound connections to the Japanese people and the historical evolution of a new Japan after the Second World War.

Transforming the Schizophrenic through Cinematic Therapy

The author shares her directorial experience in the making of her short film where she invited her aunt to participate in the production process. As her aunt had been diagnosed with schizophrenia in the past and was going through depression when the film was planned, it was supposed that perhaps the film-making process would help improve her mental health with her being part of a creative project. From script-writing, to acting, and even animating, the author had fully engaged her aunt from start to finish. The essay documents the author’s reflections of her aunt’s participation and how her sense of mental wellbeing improved dramatically as the film project progressed. The issue of exploitation is also considered in the essay as there is a difference between engagement and empowerment as opposed to deception and participation. Though the film did not win any awards at the 48-Hour Film Festival; the cinematic therapy experience highlighted the potential of seeking new pathways in supporting mental health patients.

Transforming the Intangible into the Real

Seven short animated films are examined by the auteur-animator as he self-reflects on their creations. Making animation is not only an extension of the pictorial and comic-like expression, but also the act of mystically creating movement to be perceived in the real. The artist shares his personal experiences during the animation making process including the unconscious imaginative realm that creeps into his creative thoughts. Technology may play an important part of the animation production but the author maintains that there is a deeper spiritual world where he is somehow drawn into when he is making animation. Spiritually, he feels the transcendence of the dualism of mind and matter during the creative process, and is able to unite the subconscious with reality. Citing motifs including natural, inorganic, or imaginative entities, the author demonstrates the influence of the psyche in his artistic expressions. To the artist, the spiritual assimilation aspects of his work are profound, complex, and illuminating.

Introduction

The chapter introduces the central theme of the book, the spirited and its sub-themes of journeys and transformations. The subject of animation studies and its expanding areas of inquiry provide a multi-dimensional platform in exploring the themes concerned. The volume of fourteen essays is divided into five sections: Mindful Practices, Creation and the Spirited Process, Objects, Spirits and Characters, Inspirations from the Spiritual-Cultural Realm, Comics and Children’s Literature: Their Transformative Roles, Buddhist Worldviews, Interactions and Symbolism. The introduction posits that the universal theme of the spirited necessitates and warrants multi-faceted perspectives and analyses from scholars, artists, educators, and practitioners contributing from different geographical-cultural backgrounds. The related subjects in discussion include paintings, comics, children literature, folklore, religion, philosophy, and psychology.. It also stresses the idea of the spirited as tied to the broader aspects of mental health, spirituality and creativity. In short, it lays out the humanistic views of the book project.