Abstract
Gisaku (2005), by Baltasar Pedrosa, is a unique Spanish movie that was produced to sell the Spanish country brand to visitors attending the Spanish Pavilion at Expo Aichi 2005. It is a cartoon feature production that builds a fantastic plot combining the Expo’s theme, the Spanish institutional objective of showing a good image of the country, and the aim of pleasing the target. This paper focuses on the last issue, more specifically on the narrative and production strategies of transcultural exchange developed to attract the Japanese audience. We analyze the movie from a discursive perspective. It is our hypothesis that Gisaku tries to empathize with its target by constructing a certain representation of the Japanese national culture the features of which come from an imagery of Japan negotiated in both traditional and renewed ways from Spain. It is a hybrid anime that deals with transnational representations of the Japanese national identity.
Highlights
Gisaku is a unique movie for several reasons
The final cost of the film, paid for with both public and private financing, amounted to four million euros—1,800,000 of which were contributed by SEEI, while Filmax Productions provided the rest of the money
The aim of this paper is to evaluate how Gisaku, a movie born in Spain as a unique case of country brand marketing, deals with one of the national identities involved and enhances cultural transferability
Summary
Gisaku is a unique movie for several reasons. The first of these goes back to the origin of the project that emerged in 2003 when the Spanish Government convened, through the Spanish Society of International Exhibitions (hereinafter, SEEI), the first public contest aimed at Spanish film producers on the occasion of the International Exhibition of Aichi 2005, in Japan. We will consider the terms in which the image of Japanese national identity is stated in this Spanish production made by Spanish creators for a very specific Japanese audience which is supposed to find a pleasant construction of itself in order to adopt a positive reception attitude to the Spanish national content of the movie This goal is attained through production, narrative and discursive means in which transcultural exchange plays a key role in many ways. That team deals with what is Nipponese in the movie in both traditional and newer ways from a Spanish perspective It is a film bordering the limits of anime and representing Japanese culture from outside its national boundaries. The aim of this paper is to evaluate how Gisaku, a movie born in Spain as a unique case of country brand marketing, deals with one of the national identities involved (the Nipponese one) and enhances cultural transferability
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