American animation, after a long period of faithful adaptation of fairy tales and youth stories, seems to have gradually leaned towards a clearer geography, going from the abstract realm of Snow White and the Seven Dwarfs to the very real New Orleans of The Princess and the Frog, a modification that induces a reflection on the use of localization in these films. This attention seems all the more important when it comes to treating feature films produced by T?ei Doga, the "Disney of the East"; in the 1960s, to the extent that these films are both the trace of a first phase of internationalization of the Japanese production, and the beginnings of a diversification at T?ei, as the studio goes around 1965 from adaptating Asian literature and folk tales to the transposition of European youth stories like the Tales of Andersen. Focusing on an aesthetic analysis of the filmic text, centered around two films produced by T?ei, Gulliver's Space Travels (1965) and The Tales of Andersen (1968), this article intends to question the spatial and symbolic representation Europe as an "uncertain space".
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