La popularidad de las heroínas anime de Hayao Miyazaki y Satoshi Kon (2004-2021)un análisis estético y narrativo

Referencias bibliográficas

• Aguado Peláez, D., y Martínez García, P. (2019). Cuando el modelo de dominación se agota. Una lectura desde la sostenibilidad de la vida de las ficciones de Hayao Miyazaki. Investigaciones feministas, 10(2), 351-366. https://dx.doi.org/10.5209/infe.66498
• Ask Nunes, D. (2021). The toxic heroine in Nausicaä of the Valley of the Wind. En Paul Ferstl (ed.): Dialogues between Media (pp. 83-94). Berlín: De Gruyter. https://doi.org/10.1515/9783110642056
• Basu, S. (2020). Online yaoi fanfiction and explorations of female desire through sexually exploited male bodies. Rupkatha journal on interdisciplinary studies in humanities, 12(5), 1-8. https://10.21659/rupkatha.v12n5.rioc1s1n3
• Beail, L., Lupo, L., y Beail, C. (2018). ‘Better in stereo’: Doubled and divided representations of postfeminist girlhood on the Disney Channel. Visual Inquiry, 7(2), 125-140. https://doi.org/10.1386/vi.7.2.125_1
• Becker, S., Thomas, D., y Cope, M. R. (2016). Post-feminism for children: feminism ‘repackaged’ in the Bratz films. Media, Culture, and Society, 38(8), 1218-1235. https://doi.org/10.1177/0163443716643218
• Bernárdez-Rodal, A., y Padilla-Castillo, G. (2018). Mujeres cineastas y mujeres representadas en el cine comercial español (2001-2016). Revista Latina De Comunicación Social, 73, 1247-1266. https://doi.org/10.4185/RLCS-2018-1305
• Bigelow, S. J. (2009). Technologies of perception: Miyazaki in theory and practice. Animation, 4(1), 55-75. https://doi.org/10.3366/dlgs.2018.0326
• Bohnke, C. (2017). The perfect German woman: Gender and imperialism in Arnold Fanck’s Die tochter des samurai and Itami Mansaku’s The new earth. Women in German yearbook, 33, 77-100. https://doi.org/10.5250/womgeryearbook.33.2017.0077
• Boyd, D. J. (2015). Hollowed out: Exhuming an ethics of hollowing in Tite kubo’s bleach. Pacific coast philology, 50(2), 242-267. https://doi.org/10.5325/pacicoasphil.50.2.0242
• Brenner, R. (2007). Understanding Manga and Anime. Newport: Libraries Unlimited.
• Brzeski, P. (24 de octubre de 2014). “John Lasseter Pays Emotional Tribute to Hayao Miyazaki at Tokyo Film Festival”. The Hollywood Reporter. https://www.hollywoodreporter.com/news/general-news/john-lasseter-pays-emotional-tribute-743635/
• Byeun-Kyung, J. (2006). Eco-feminism in Miyazaki Hayao's Film. Comparative Literature, 39, 143-161.
• Cantillo Valero, C. (2015). Del cuento al cine de animación: semiología de una narrativa digital. Revista de Comunicación de la SEECI, 0(38), 133-145.
• Cerdán Martínez, V. y Padilla Castillo, G. (2019). Historia del fake audiovisual: deepfake y la mujer en un imaginario falsificado y perverso. Historia y comunicación social, 24(2), 505-520. https://doi.org/10.5209/hics.66293
• Choo, H. (2014). A Study on Persona of Double-sided Characters Shown in Satoshi Kon's Works. Cartoon y Animation Studies, 45, 181-202. https://doi.org/10.7230/KOSCAS.2014.35.181
• Denison, R. (2018). Before Ghibli was Ghibli: Analysing the historical discourses surrounding Hayao Miyazaki’s Castle in the Sky (1986). East Asian journal of popular culture, 4(1), 31-46. https://doi.org/10.1386/eapc.4.1.31_1
• Denney, A. (27 de agosto de 2015). “The cult Japanese filmmaker that inspired Darren Aronofsky”. Dazed. https://www.dazeddigital.com/artsandculture/article/26075/1/the-cult-japanese-filmmaker-that-inspired-darren-aronofsky
• Diffrient, D. S. (2008). From three godfathers to Tokyo godfathers: Signifying social change in a transnational context. En Leon Hunt y Leung Wing-Fai (eds.), East Asian Cinemas. (pp. 151-170). Londres: I.B. Tauris.
• Gavilán, D., Martínez-Navarro, G., y Ayestarán, R. (2019). Las mujeres en las series de ficción: el punto de vista de las mujeres. Investigaciones feministas, 10(2), 367-384. https://dx.doi.org/10.5209/infe.66499
• Gil Escudier, E. (2020). El anime como elemento transcultural: mitología, folclore y tradición a través de la animación. BSAA arte, 86, 413-436. https://doi.org/10.24197/bsaaa.86.2020.413-436
• González González, M. C., y Pereira Domínguez, C. (2020). Mi vecino Totoro. Padres y Maestros / Journal of Parents and Teachers, 381, 73-76. https://doi.org/10.14422/pym.i381.y2020.011
• Gómez Alonso, R. (2001). Análisis de la imagen, estética audiovisual. Alcorcón: Ediciones Laberinto.
• Goodman, R. (2021). Neoliberal film and feminism. Interventions, 23(5), 754-771. https://doi.org/10.1080/1369801X.2021.1885467
• Google Trends. (13 de julio de 2021). Google Trends. Disponible en https://trends.google.es/trends/?geo=ES
• Gutiérrez Martínez, B. (2019). Dialécticas de los personajes femeninos y masculinos en ‘Mad men’: un análisis cuantitativo y cualitativo. Investigaciones feministas, 10(2), 257-279. https://dx.doi.org/10.5209/infe.66493
• Hye-Jung, J. (2008). Miyazaki Hayao's work in the view of ecofeminism. The Korean Journal of animation, 4(1), 89-114.
• Ingle, Z. (2019). Princess Mononoke: Understanding Studio Ghibli’s Monster Princess. Historical Journal of Film, Radio, and Television, 39(3), 624-626. https://doi.org/10.1080/01439685.2018.1563391
• Jackson, J. K. (2011). Doomsday ecology and empathy for nature: Women scientists in “B” horror movies. Science Communication, 33(4), 533-555. https://doi.org/10.1177/1075547011417893
• Jeon, H-J. (2008). Miyazaki Hayao's work in the view of ecofeminism. The Korean Journal of animation, 4(1), 89-114.
• Eun-Kyung, J. (2018). Eco-feminism in Miyazaki Hayao's Film. Comparative Literature, 17(3), 193-218.
• Josephy-Hernández, Daniel E. (2019) Reflections on the translation of gender in Perfect Blue, an anime film by Kon Satoshi. En Pérez L. de Heredia, María e Irene Higes Andino (eds.). Multilingüismo y representación de las identidades en textos audiovisuales / Multilingualism and representation of identities in audiovisual texts. MonTI Special, 4, 309-342. https://doi.org/10.6035/MonTI.2019.ne4.11
• Kaori, H. (2018). Interpretation of the Forest of My Neighbor Totoro and Princess Mononoke based on “the laurel forest culture theory”. Journal of Japanese Culture, 76, 233-250. 10.21481/jbunka..76.201802.233
• Khan, A. (2016). Principles of Lust: A feminist porn perspective on contemporary macho, future of porn and its ever-present influence on fashion and style. Fashion Style y Popular Culture, 3(3), 375-381. https://doi.org/10.1386/fspc.3.3.375_1
• Kim, E. y Kim, G. (2014). “Image ideological of women appeared in Miyazaki Hayao’s animation”. Journal of Korea Design Forum, 44, 17-230. https://doi.org/10.21326/ksdt.2014..44.019
• Kim, H. Y. (2020). The Study of “The Spiriting Away of Sen and Chihiro” by Hayao Miyazaki: With ‘paradise regained’ and ‘woman’ as keyword. Japanese Cultural Studies, 73, 125-140. 10.18075/jcs..73.202001.125
• Lam, P. E. (2007). “Japan's quest for "soft power": Attraction and limitation”. East Asia, 24(4), 349-363. https://doi.org/10.1007/s12140-007-9028-6
• Lindwasser, A. (29 de junio de 2018). “How Anime Has Evolved Through the Years”. Ranger. Disponible en https://www.ranker.com/list/how-anime-has-changed-and-evolved/anna-lindwasser
• López Villar, R. (2019). Prototipos brujescos televisivos como posibles continuadores de estereotipos femeninos tradicionales. El caso de “American Horror Story: Coven” (2013) y “Apocalypse” (2018). Investigaciones feministas, 10(2), 315-331. https://dx.doi.org/10.5209/infe.66496
• Mallam, S. K. R. (2019). Sexual harassment as courtship: Performing hegemonic masculinity in contemporary Telugu cinema. Journal of Creative Communications, 14(2), 118-131. https://doi.org/10.1177/0973258619848626
• Maulida, N. (2019). Tindak Tutur Memuji dalam Film Kaze Tachinu. LITE: Jurnal Bahasa, Sastra, dan Budaya, 15(1), 62-78. https://doi.org/10.33633/lite.v15i1.2397
• McCloud, S. (1993). Understanding Comics: The Invisible Art. New York: William Morror Paperback.
• McCloud, S. (2006). Making Comics. New York: Harper Collins.
• Mes, T. (11 de febrero de 2002). “Satoshi Kon”. Midnight Eye. http://www.midnighteye.com/interviews/satoshi-kon/
• Mishra, M. y Mishra, M. (1 de julio 2013). Eastern Princesses: Hayao Miyazaki's Women, Nature and Identity. International Annual Asian Media Information and Communication Centre Conference (AMIC), Yogyakarta, Indonesia.
• Mishra, M., y Mishra, M. (2014). Animated worlds of magical realism: An exploration of Satoshi Kon’s Millennium Actress and Paprika. Animation, 9(3), 299-316.
• Napier S. J. (2006). Matter out of place: Carnival, containment, and cultural recovery in Miyazaki's spirited away. Journal of Japanese Studies, 32(2), 287-310. https://doi.org/10.1177/1746847708091891
• Noviana, F. (2019). Representasi Hero’s Journey Pada Tokoh Chihiro Dalam Anime Spirited Away Karya Miyazaki Hayao. IZUMI, 8(1), 52-64. https://doi.org/10.14710/izumi.8.1.52-64
• Núñez Puente, S. (2005). Género y televisión. Estereotipos y mecanismos de poder en el medio televisivo. Comunicar. Revista científica iberoamericana de comunicación y educación. 25(2). 47-62.
• Ortabashi, M. (2006). Indexing the past: Visual language and translatability in Kon Satoshi's Millennium Actress. Perspectives. Studies in Translatology, 14(4), 278-291.
• Ortega Fernández, Eglée Andreína y Padilla-Castillo, Graciela (2020). Diálogo transmedia de las series de televisión. La superación de la Quinta Pared en House of Cards. Estudios sobre el Mensaje Periodístico, 26(3), 1101-1120. https://doi.org/10.5209/esmp.67783
• Quintanilha, L., Souza, L., Sanches, D., Senos-Demarco, R. y Ferreira-Fukutani, K. (2019). The impact of cancer campaigns in Brazil: a Google Trends analysis. Ecancer medical science, 13(963), 1-9. https://doi.org/10.3332/ecancer.2019.963
• Rahjes, M. (22 de enero de 2020). “Aesthetic Exploration: Studio Ghibli Movies”. Aesthetics of Design. Disponible en https://www.aesdes.org/2020/01/22/aesthetic-exploration-studio-ghibli-movies/
• Revert, J. (2013). Everything has been a dream: The inception of Inception and the construction of the definitive mind-game film. Atalante, 15, 50-65.
• Saito, K. (2014). Magic, shōjo, and metamorphosis: Magical girl Anime and the challenges of changing gender identities in Japanese society. The Journal of Asian Studies, 73(1), 143-164.
• Rizzo-Smith, J. (24 de agosto de 2018). “An Ode to Anime Auteur Satoshi Kon”. IGN India. https://in.ign.com/paprika/127083/feature/an-ode-to-anime-auteur-satoshi-kon
• Shutterstock (20 de julio de 2016). “How Hayao Miyazaki Influenced American Animation with Spirited Away”. Shutterstock. Disponible en https://www.shutterstock.com/blog/miyazaki-influence-on-american-animation
• Smith, M. J. y Parsons, E. (2012). Animating child activism: Environmentalism and class politics in Ghibli's Princess Mononoke (1997) and Fox's Fern Gully (1992). Continuum, 26(1), 25-371. https://doi.org/10.1080/10304312.2012.630138
• Spiegel, J. (10 de septiembre de 2013). “The Pixar Perspective on Hayao Miyazaki 's Influence”. The Pixar Times. Disponible en https://pixartimes.com/2013/09/10/the-pixar-perspective-on-hayao-miyazakis-influence/
• Spiegel, J. (27 de mayo de 2020). “The long, ugly history between Disney and Studio Ghibli”. Polygon. Disponible en https://www.polygon.com/animation-cartoons/2020/5/27/21272224/disney-studio-ghibli-partnership-dubs-history
• Swale, A. (2015). Miyazaki Hayao and the Aesthetics of Imagination: Nostalgia and Memory in Spirited Away. Asian Studies Review, 39(3), 413-429. https://doi.org/10.1080/10357823.2015.1056086
• Teodorescu, A. (2016). Blurring the screen: the fragmented self, the database, and the narratives of Satoshi Kon. Ekphrasis-Images Cinema Theory Media, 15(1), 63-74.
• Trafí Prats, L. (2017). Girls’ aesthetics of existence in/with Hayao Miyazaki' s films. Cultural Studies, 17(5), 376-383. https://doi.org/10.1177/1532708616674996
• Villa Gracia, D. (2015). Relaciones formales entre el cómic japonés contemporáneo y su adaptación audiovisual animada [Tesis Doctoral, Universidad Complutense de Madrid]. https://eprints.ucm.es/id/eprint/41758/
• Villa Gracia, D. (2019). Configuración narrativa de la franquicia crossmedia de Berserk. Con A de Animación, 9,132-143. https://doi.org/10.4995/caa.2019.11339
• Villa Gracia, D. y Cerdán, V. (2020). Evolución de la popularidad de Donald Trump y otros mandatarios internacionales en Google Trends (2016-2019). El profesional de la información, 29(1), online. https://doi.org/10.3145/epi.2020.ene.12
• Visa Barbosa, M. (2019). Relatos sobre maternidad, reproducción y crianza en la era post-televisión. Investigaciones feministas, 10(2), 281-294. https://dx.doi.org/10.5209/infe.66494
• Voelkel, M., y Henehan, S. (2018). Rescuing the soiled dove: pop culture’s influence on a historical narrative of prostitution. International journal of lifelong education, 37(1), 40-54. DOI: 10.1080/02601370.2017.1375036
• Walsh, B. C. (2019). “A Modern-Day Romantic: The Romantic Sublime in Hayao Miyazaki’s Creative Philosophy”. Comparative Literature: East and West, 3(2), 176-191. DOI: 10.1080/25723618.2019.17109410
• Wilson, B. (2020). Mutilation, metamorphosis, transition, transcendence: Revisiting genderism and transgenderism in the little mermaid through gake no ue no ponyo. En Asian Children’s Literature and Film in a Global Age, pp. 117-137. Singapore: Springer Singapore. DOI: 10.1007/978-981-15-2631-2_6
• Wu, C. I. (2016). Hayao Miyazaki's Mythic Poetics: Experiencing the Narrative Persuasions in Spirited Away, Howl's Moving Castle and Ponyo. Ecological Economics, 11(2), 189-203. DOI 10.1016/j.ecolecon.2005.03.012
• Zhang, ZM y Xie, JC. (2014). The Application of Color and Soft Loading Design in My Neighbor Totoro. International Conference on Humanity and Social Science (ICHSS), pp. 36-39.