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.23This movement to separate Princess Mononoke s text from its contex-tual economic achievements is similar in a way to the differences men-tioned between the film s and other blockbusters advertising.Workingto counteract the hype around Princess Mononoke, Miyazaki s commentforces focus back onto the film, thus encouraging further potential audi-ences to ignore the hype and see it for themselves.This is not a new tac-tic in blockbuster promotion.James Cameron s comments aboutTitanic s budget similarly acted to control errant media speculationsabout his blockbuster film.24 That these directors become conduits forcommunication passing from the studios to the press should not bealtogether surprising, given their importance to the initial project ofselling their blockbuster films.Rather, Miyazaki and Cameron sstar status makes them the useful vehicles for this kind of mediamanipulation.Another point of similarity between Princess Mononoke andAmerican blockbusters, which began to be discussed in the latter partof its promotion, was its merchandising.When Princess Mononokebroke E.T. s box office record, Katsuda Tomomi was quick to expressthat its profits were not limited to gross earnings:For Tokuma Shoten, the Princess Mononoke hit is in related goods aswell, selling around 2.5 million publications like explanatory books andcomics, making around ¥ 1.5 billion.It is said that they have also sold90,000 copies of the theme song and other CDs.25Interestingly, Katsuda mentions Tokuma Shoten s tie-ins to PrincessMononoke and not Studio Ghibli s extensive merchandising for it.Nordoes she mention that the arm of Tokuma that published the film smusic was a joint venture between the publisher and the film s studio.This again deflects attention away from the corporate nature of PrincessMononoke s producing studio, and also away from Studio Ghibli s 07 EA Cinema_103-120 25/1/08 09:15 Page 116116 East Asian Cinemasdirect attempts to capitalise on and commercialise their film product.Therefore, even when journalists seem to have tapped into unautho-rised or unsanctioned aspects of Princess Mononoke, it is clear that suchviews have themselves been, potentially at least, guided by the film svarious producers.ConclusionsWhat emerges from the publicity generated during Princess Mononoke spromotion is a view of the film that shares much with marketing cul-ture the world over; attempting to persuade the viewing public to seePrincess Mononoke using hyperbole, and appealing to the film s qualityand Japaneseness.As Princess Mononoke becomes more clearly iden-tified with the blockbuster through reference to its record-breaking boxoffice, the print media responded by likening it increasingly to itsAmerican blockbuster counterparts.However, the evidence suggeststhat the film-makers attempted to combat such straightforward com-parisons through a variety of methods, distancing themselves from thefilm as phenomenon and attempting to refocus attention back onto thefilm text rather than on the blockbuster phenomenon it was becoming.Studio Ghibli s relative success in this matter helped to create PrincessMononoke, in the Japanese media at least, as an alternative form ofblockbuster film.As the examples here have shown, Japanese film product is not iso-lated in its market.On the contrary, Japanese films are constantly jux-taposed with films from all over the globe.The result being thatfilm-makers and studios in Japan have sometimes found unusualmethods of marketing that enable their products to find audiences.Similar film types appear to cluster, in this instance, around film-making modes like animation, and around scale and success of prod-ucts in previous markets.The blockbuster film does therefore exist in the Japanese film market.As the daihitto, it is visible in Hollywood s films on offer there andequally in Japan s domestic film products [ Pobierz caÅ‚ość w formacie PDF ]
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.23This movement to separate Princess Mononoke s text from its contex-tual economic achievements is similar in a way to the differences men-tioned between the film s and other blockbusters advertising.Workingto counteract the hype around Princess Mononoke, Miyazaki s commentforces focus back onto the film, thus encouraging further potential audi-ences to ignore the hype and see it for themselves.This is not a new tac-tic in blockbuster promotion.James Cameron s comments aboutTitanic s budget similarly acted to control errant media speculationsabout his blockbuster film.24 That these directors become conduits forcommunication passing from the studios to the press should not bealtogether surprising, given their importance to the initial project ofselling their blockbuster films.Rather, Miyazaki and Cameron sstar status makes them the useful vehicles for this kind of mediamanipulation.Another point of similarity between Princess Mononoke andAmerican blockbusters, which began to be discussed in the latter partof its promotion, was its merchandising.When Princess Mononokebroke E.T. s box office record, Katsuda Tomomi was quick to expressthat its profits were not limited to gross earnings:For Tokuma Shoten, the Princess Mononoke hit is in related goods aswell, selling around 2.5 million publications like explanatory books andcomics, making around ¥ 1.5 billion.It is said that they have also sold90,000 copies of the theme song and other CDs.25Interestingly, Katsuda mentions Tokuma Shoten s tie-ins to PrincessMononoke and not Studio Ghibli s extensive merchandising for it.Nordoes she mention that the arm of Tokuma that published the film smusic was a joint venture between the publisher and the film s studio.This again deflects attention away from the corporate nature of PrincessMononoke s producing studio, and also away from Studio Ghibli s 07 EA Cinema_103-120 25/1/08 09:15 Page 116116 East Asian Cinemasdirect attempts to capitalise on and commercialise their film product.Therefore, even when journalists seem to have tapped into unautho-rised or unsanctioned aspects of Princess Mononoke, it is clear that suchviews have themselves been, potentially at least, guided by the film svarious producers.ConclusionsWhat emerges from the publicity generated during Princess Mononoke spromotion is a view of the film that shares much with marketing cul-ture the world over; attempting to persuade the viewing public to seePrincess Mononoke using hyperbole, and appealing to the film s qualityand Japaneseness.As Princess Mononoke becomes more clearly iden-tified with the blockbuster through reference to its record-breaking boxoffice, the print media responded by likening it increasingly to itsAmerican blockbuster counterparts.However, the evidence suggeststhat the film-makers attempted to combat such straightforward com-parisons through a variety of methods, distancing themselves from thefilm as phenomenon and attempting to refocus attention back onto thefilm text rather than on the blockbuster phenomenon it was becoming.Studio Ghibli s relative success in this matter helped to create PrincessMononoke, in the Japanese media at least, as an alternative form ofblockbuster film.As the examples here have shown, Japanese film product is not iso-lated in its market.On the contrary, Japanese films are constantly jux-taposed with films from all over the globe.The result being thatfilm-makers and studios in Japan have sometimes found unusualmethods of marketing that enable their products to find audiences.Similar film types appear to cluster, in this instance, around film-making modes like animation, and around scale and success of prod-ucts in previous markets.The blockbuster film does therefore exist in the Japanese film market.As the daihitto, it is visible in Hollywood s films on offer there andequally in Japan s domestic film products [ Pobierz caÅ‚ość w formacie PDF ]