Aspects of creativity in adult animation: an overview of censorship and self-censorship in Western countries
Abstract
Today, adult animation is the fastest growing segment in the industry. However, adult animation is also the least researched topic in animation field. In this article, the author explores what key elements hinder the growth in this animation segment with a focus on self-censorship and how it affects modern adult animation creative output and overall production. Also, the author discusses the concept of censorship in animation and its historical development. In other words, the genesis, and then reform of formal censorship systems into the age rating systems. And, while technically, with the abolition of the formal censorship system, today animators can create content of any kind, adult animation in the Western world has only begun to grow relatively recently. This paper investigates the key reasons that motivate self-censorship in animation to exist today, even when all the data shows that never before in the history of this medium, has the adult animation segment had such good conditions to get funded and reach an audience. Additionally, the author examines the concept of mature themes from the perspective of Western censorship apparatus.
Keyword : adult animation, animation, animation censorship, animation self-censorship, creative industries, mature animation
How to Cite
Mitkus, T. (2023). Aspects of creativity in adult animation: an overview of censorship and self-censorship in Western countries. Creativity Studies, 16(1), 39–49. https://doi.org/10.3846/cs.2023.15446
This work is licensed under a Creative Commons Attribution 4.0 International License.
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Forumcinemas.lt. (1993–2022). Dešrelių balius. https://www.forumcinemas.lt/event/305118/title/de%C5%A1reli%C5%B3_balius/
Fubara-Manuel, I. (2017). Revolting animation: The hierarchy of masculinities in the representation of race and male same-sex desire in adult cartoons. Networking Knowledge, 10(3), 70–82. https://doi.org/10.31165/nk.2017.103.517
Gan, Sh. H. (2007). A Reevaluation of the importance of Mushi Pro’s three adult-oriented animated films in the development of Japanese animation. Cinema Studies, 2, 63–90.
Golovskoy, V. S., & Rimberg, J. (1986). Behind the Soviet screen: The motion-picture industry in the USSR, 1972–1982. Ardis.
Jiménez Pumares, M., Simone, P., Kevin, D., Ene, L., & Talavera Milla, J. (2015). Mapping the animation industry in Europe. European Audiovisual Observatory (Council of Europe).
Kaminskaitė-Jančorienė, L. (2008). „Brežnevinio sąstingio“ praeities deformacijos lietuviškuose kino ir televizijos vaidybiniuose filmuose (1968–1980 metai). Lietuvos istorijos studijos, 22, 104–116.
Kapka, A. (2017). “Cuts are not a viable option”: The British board of film classification. Hate Crime and censorship for adults in the digital age. Journal of British Cinema and Television, 14(1), 77–97. https://doi.org/10.3366/jbctv.2017.0353
Kapka, A. (2018). Eastern European ordeal cinema in the UK: Online distribution and film classification policies [PhD/Doctoral Thesis, Queen’s University Belfast]. United Kingdom. https://www.academia.edu/44898072/Eastern_European_Ordeal_Cinema_in_the_UK_Online_Distribution_and_Film_Classification_Policies
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Leigh, M., & Mjolsness, L. (2020). Film and media studies. She animates: Soviet female subjectivity in Russian animation. A. Prokhorov & E. Prokhorova (Series Eds.). Academic Studies Press. https://doi.org/10.1515/9781644690352
Lietuvos kino centras prie Kultūros ministerijos. (2018). Įsakymas dėl filmų indeksavimo komisijos nuostatų patvirtinimo. https://e-seimas.lrs.lt/portal/legalAct/lt/TAD/e9f3f5c1014911e8a2469c61d7bb0a92/asr
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Milligan, M. (2021). Russian court bans Death Note, Tokyo Ghoul and Inuyashiki for violence. Animation Magazine. https://www.animationmagazine.net/anime/russian-court-bans-death-note-tokyo-ghoul-inuyashiki-for-violence/?fbclid=IwAR0Gf8xSX3Q-1xDeYl6As8EgOiPW984VyF34MPHCr_UjsIOjaHbSNUUkFAU
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Mitkus, T., & Steiblytė, R. (2018). Late Soviet film industry: Creativity and work culture. Creativity Studies, 11(1), 116–128. https://doi.org/10.3846/cs.2018.2372
Phillips, I. (2016). Seth Rogen’s raunchy Sausage Party can be seen by kids in Sweden. Insider. https://www.insider.com/sausage-party-sweden-rating-2016-8
Rotten Tomatoes. (2022). Sausage party. https://www.rottentomatoes.com/m/sausage_party
Statens medieråd. (2021). Film classification. https://www.statensmedierad.se/aldersgranser-for-film/film-classification
Timsit, A. (2022). The vast gap between how the US and Europe think about teens and sex. Quartz. https://qz.com/1335380/eighth-grade-shows-the-difference-between-how-the-us-and-europe-think-about-teens-and-sex/
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Weber, I. (2019, 5–7 March). Animation films for adults: Challenges and opportunities. In Europa Distribution: Distribution Workshop on Animation. Bordeaux, France. https://www.europa-distribution.org/animation-films-for-adults-challenges-and-opportunities/
Welk, B. (2020). “Onward” censored in Russia over LGBTQ character. The Wrap. https://www.thewrap.com/onward-censored-in-russia-over-lgbtq-character/
Wells, P. (2002). Animation: Genre and authorship. Columbia University Press.
Yahoo! Finance. (2021). Disney’s (DIS) new division to focus on adult animation: Zacks equity research. https://finance.yahoo.com/news/disneys-dis-division-focus-adult-144702079.html?guccounter=1