Abstract
The nature of animated cinema involves the creation of any realistic or fantastical characters, places, and situations. Animation can be used to take characters far from their hometowns on believable journeys without big budgets used on location shooting. The Basque animated feature film Ipar Haizearen Erronka (The Challenge of the North Wind), directed in 1992 by Juanba Berasategi, illustrates how animation can represent a journey and a historic reality in a plausible way. The movie depicts a Basque whale hunting vessel travelling to the wild coast of Newfoundland, Canada in the sixteenth century. Typically, Basque live action movies in the 80s would recreate foreign locations with nearby settings. Ipar Haizearen Erronka avoids this problem by showing America through drawings. In this paper, we will use the movie Ipar Haizearen Erronka to interpret how animation uses backgrounds and objects to represent a voyage across the Atlantic Ocean and determine the realistic accuracy of the social and historical moments represented in the movie. We will also see how this journey embodies the characteristics of the literary genre of Bildungsroman, as well as the narrative structures pointed out by Vladimir Propp’s folktale and Joseph Campbell's monomyth. The study also focuses on how the film depicts the most representative characteristics of the journey, and how they are used as filming narrative resources. A closer look will be taken into the main vessels, the captain's logbook, the map, the historical context of the sailing of the ship, the maritime laws where sexism is abundant, the financing of the trip, and the work on board.
Highlights
A TRANSCULTURAL RESEARCH JOURNALISSUE 1 – Between Texts and Images: Mutual Images of Japan and Europe ISSUE 2 – Japanese Pop Cultures in Europe Today: Economic Challenges, Mediated Notions, Future Opportunities ISSUE 3 – Visuality and Fictionality of Japan and Europe in a Cross-Cultural Framework ISSUE 4 – Japan and Asia: Representations of Selfness and Otherness ISSUE 5 – Politics, arts and pop culture of Japan in local and global contexts ISSUE 6 – Mediatised Images of Japan in Europe: Through the Media Kaleidoscope ISSUE 7 – Layers of aesthetics and ethics in Japanese pop culture ISSUE 8 – Artists, aesthetics, and artworks from, and in conversation with, Japan part 1 (of 2) ISSUE 9 – Artists, aesthetics, and artworks from, and in conversation with, Japan part 2 (of 2)
Ipar Haizearen Erronka (The Challenge of the North Wind) is the second animated feature film produced in the Basque Country
Kalabaza Tripontzia (1985), the first animated commercial feature film made in the Basque Country, which is the first one in Basque language
Summary
ISSUE 1 – Between Texts and Images: Mutual Images of Japan and Europe ISSUE 2 – Japanese Pop Cultures in Europe Today: Economic Challenges, Mediated Notions, Future Opportunities ISSUE 3 – Visuality and Fictionality of Japan and Europe in a Cross-Cultural Framework ISSUE 4 – Japan and Asia: Representations of Selfness and Otherness ISSUE 5 – Politics, arts and pop culture of Japan in local and global contexts ISSUE 6 – Mediatised Images of Japan in Europe: Through the Media Kaleidoscope ISSUE 7 – Layers of aesthetics and ethics in Japanese pop culture ISSUE 8 – Artists, aesthetics, and artworks from, and in conversation with, Japan part 1 (of 2) ISSUE 9 – Artists, aesthetics, and artworks from, and in conversation with, Japan part 2 (of 2). The illustrations and photographs, in particular, are reproduced in low digital resolution and constitute specific and partial details of the original images They perform a merely suggestive function and fall in every respect within the fair use allowed by current international laws. SCIENTIFIC BOARD Marco BELLANO, Department of Cultural Heritage, University of Padova (Italy); JeanMarie BOUISSOU, International Research Centre, European Training Programme Japan, Sciences Po CERI (France); Christian GALAN, Centre of Japanese Studies (CEJ), INALCO, Paris (France); Marcello GHILARDI, Department of Philosophy, University of Padova (Italy); Paolo LA MARCA, Department of Humanities, University of Catania (Italy); Pascal LEFÈVRE, LUCA School of Arts, Campus Sint-Lukas Brussels (Belgium); Boris LOPATINSKY, Centre de recherche en études philologiques, littéraires et textuelles, Université Libre de Bruxelles (Belgium); Ewa MACHOTKA, Department of Asian, Middle.
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