Abstract

Bakemonogatari (Monster Story) is a 2009 television anime (Japanese animation) produced by Studio Shaft and directed by Shinbō Akiyuki. To the plot and clever dialogue of the novels on which the show is based, the anime adds several striking filmic elements which create an entirely new layer of expression. Most notable among these elements is the profuse and reflexive use of text on the screen. The series is nearly overflowing with text, much of it highly conspicuous and disruptive, taunting the viewer with the promise of hidden meaning. Rather than attempt to decode this text, however, this article argues that the use of text to disrupt and infiltrate the narrative world engenders certain notable effects. For one, it creates a Brechtian alienation effect and reflexively calls attention to the construction of the anime. Most importantly, however, the use of text foregrounds intertextuality as a major theme; not only is Bakamonogatari itself intertextual, but also the anime attempts to show that everything from interior thought to sexual desire is ultimately intertextual in nature, linked through text to specifically historicized social constructs. Alienating text pervades everything, and therefore mediates everything, leaving nothing authentic or unique to the self.

摘要

烤物语（怪物物语）是 2009 年的电视动画（日本动画），由 Studio Shaft 制作，秋之信保执导。该剧所依据的小说情节和巧妙的对话，动画增加了几个引人注目的电影元素，创造了一个全新的表达层次。这些元素中最值得注意的是屏幕上大量和反射性地使用文本。该系列几乎充满了文字，其中大部分都非常引人注目和破坏性，以隐藏意义的承诺嘲弄观众。然而，本文并没有试图解码这个文本，而是认为使用文本来破坏和渗透叙事世界会产生某些显着的效果。一方面，它创造了一种布莱希特异化效应，并反射性地引起人们对动漫结构的关注。然而，最重要的是，使用文本将互文性作为主要主题；不仅是Bakamonogatari本身是互文的，但动画也试图表明，从内心思想到性欲的一切最终都是互文的，通过文本与特定历史化的社会结构联系起来。异化文本遍及一切，因此调解一切，没有留下任何真实或独特的自我。