안노 히데아키의 작품에 나타난 남성성의 문제

Abstract

본 연구는 ‘아마에’(甘え)와 ‘영원한 소년’(永遠の少年)의 개념을 통해, 안노 히데아키가 관여한 세 편의 애니메이션에 나타나는 남성성의 문제를 고찰하는 데 목적을 두었다. 아마에와 영원한 소년의 개념을 이용한 이유는 이 개념들이 일본 정신문화와 남성성의 연관성을 규명하기에 유용하기 때문이다. ‘아마에’는 일본인의 내면을 이루는 마음의 원형으로, 어머니에게 의존하고 싶은 마음을 말한다. 그리고 융학파의 개념인 ‘영원한 소년’은 아마에와 마찬가지로 어머니에게 의존하고 싶은 마음을 가리킨다. 즉 영원히 소년으로 남고 싶은 남성의 원형상을 의미한다. 본 연구에서는 일본 정신문화의 토대를 이루는 아마에와 성장을 원하지 않는 남성의 원형상인 영원한 소년의 개념을 이용하여 정신문화론적인 관점에서 분석할 경우, 안노의 작품 속에 나타나는 남성성의 본질을 보다 명확히 파악할 수 있을 것으로 보았다.

분석 작품으로는 안노가 각본·감독을 맡은 대표적인 애니메이션 <신세기 에반게리온>(이하 <에반게리온>)과 함께, 다른 두 편의 애니메이션인 <왕립우주군 – 오네아미스의 날개>(이하 <왕립우주군>), <신비한 바다의 나디아>(이하 <나디아>)를 선택하였다. 이 중 후자의 두 작품은 안노가 각본이 아닌 작화감독 및 총감독으로 활약한 작품들이다. 이렇게 안노의 애니메이션을 선택한 이유는 그가 관여한 작품 세 편의 주인공들이 각기 다른 남성성의 유형을 보여주기 때문이다. 다시 말해 안노가 각본에 직접적으로 관여한 <에반게리온>의 주인공 소년은 <왕립우주군>, <나디아>의 주인공 소년과 확연한 차이를 나타낸다.

큰 관점에서 보면 <왕립우주군>과 <나디아>의 주인공 소년은 기존의 재패니메이션에서 흔히 그려지던 남성성을 보여준다고 할 수 있다. 반면 <에반게리온>의 주인공 소년은 기존의 패러다임에서 벗어난 남성성의 유형을 보여주고 있다. 첫째, <에반게리온>의 소년은 명목적인 싸움에 반기를 들면서, 자신이 왜 싸우고 있는지에 대한 물음을 끊임없이 던진다. 둘째, 이 작품은 ‘아마에의 욕망’을 직접적으로 보여준다. 작품 속 주인공들은 부모에 대한 결핍을 강하게 드러내는데, 이러한 결핍은 아마에를 추구하고자 하는 욕망으로 이어진다.

이와 같이 남성성의 문제를 분석하면서 본 연구에서 주목한 것은 다음 세 가지이다. 첫째, 각 작품 속에 그려진 ‘이상화한 남성성’이다. 여기서 이상화한 남성성이란 사회적으로 올바르다고 여겨지는 남성성을 의미한다. 본 연구에서는 세 작품에서 소년의 이상화한 남성성이 각각 어떻게 그려지고 있는지에 주목하였다. 둘째, 소년의 행동 동기이다. 세 작품의 배경이 모두 전쟁이라는 점을 고려하여 소년이 전쟁터에 나가게 된 동기에 주목하였다. 마지막으로, 각 작품 속에 그려진 주인공의 원형상도 주목 대상이었다. 이에 대해서는 ‘영원한 소년’과 ‘영웅’의 개념을 이용하여 분석을 진행하였다.

분석 결과, 일본 정신문화와 남성성의 관계는 ‘양가성향’으로 연결되어 있음을 확인할 수 있었다. 양가성향이란 정반대의 기분이나 성향이 공존하는 상태를 의미한다. 본 연구에서는 아마에와 영원한 소년이 공통적으로 양가성향을 가지고 있다는 점을 살펴보았다. ‘아마에의 결핍’이 있는 사람은 ‘모성적 대상’에게 극도로 의존하지만, 자신의 기대가 배반당했다고 느낄 경우 매우 우발적이고 충동적인 성향을 띠게 된다. 마찬가지로 영원한 소년의 원형상 역시 모성적 대상에게 얽매여 있지만, 그 대상으로부터 달아나고 싶은 충동성을 가지고 있다. 즉 본 연구에서 다룬 ‘이상화한 남성성’은 영원한 소년의 행동양식이며, 그 내면은 아마에의 결핍으로 이루어진 어린 아이의 모습이라고 결론 내릴 수 있다. | The purpose of this research is to contemplate the issue of masculinity that appears on three pieces of animation that Anno Hideaki is involved in, through the concept of Amae and Puer Aeternus. The reason that this research uses concepts of Amae and Puer Aeternus is that these concepts are useful in proving the association of Japanese mental culture and masculinity. “Amae” is the origin of the spiritual composition of Japanese people, and the word refers to the dependent mind to the mother. Puer Aeternus, Jungian concept, also refers to the dependent mind of males to their mothers. In other words, it refers to the original figure of males who want to remain like a young boy forever. This research assumed that the essentials of the masculinity that appears on Anno’s pieces more clearly if the analysis is made on the mental, cultural perspective, using Puer Aeternus that does resist the growth and Amae that forms the basis of Japanese mental culture.

As the analysis work, this research has selected Neon Genesis Evangelion, Wings of Honneamise, and Nadia: The Secret of Blue Water. Among these pieces, Anno Hideaki participated in the latter two pieces as drawing and general director, not as the scriptwriter. The reason which the research chooses pieces by Anno Hideaki is that three of the pieces that he has participated in display different types of masculinity through their male protagonists. In other words, the protagonist-boy of Neon Genesis Evangelion, the piece which Anno Hideaki directly influenced the scriptwriting, displays a significant difference to protagonist-boys that appear on Wings of Honneamise, and Nadia: The Secret of Blue Water.

From the macroscopic perspective, the protagonist-boy that appear on Wings of Honneamise and Nadia: The Secret of Nadia display the typical and conventional masculinity of the Japanimation. However, the protagonist-boy of Evangelion displays the type of masculinity that differs from the conventional paradigm. First, the boy of Evangelion resists to the nominal fight, and he continuously questions on why does he fight. Second, this piece directly displays the “desire to Amae.” The protagonists in the piece display a strong sense of lack of parents, leading to the desire that pursuits Amae.

The following three elements are the features that this research has focused on while analyzing the issue of masculinity. The first element is the “idealized masculinity” depicted in each piece. In this context, the idealized masculinity refers to the figure that is considered socially upright. This research has focused on how three pieces of animation depict the idealized masculinity of a boy. The second element is the motivation of action for the boy. Considering that backgrounds for all three pieces are war, the research has focused on the motivation which drove the boy to fight the war. The last element is that the research has focused on the original figure of the protagonist depicted in each piece. In this regard, the analysis was conducted using concepts of “Puer Aeternus” and “Hero.”

The analysis result shows that the Japanese mental culture and masculinity connect to each other by Ambitendenz. Ambitendenz refers to the condition in which the opposite emotion or tendency co-exist. This research has examined that Amae and Puer Aeternus bear Ambitendenz in common. The one with the “lack of Amae” becomes extremely dependent upon the “maternal being,” but he becomes very accidental and impulsive when feeling that the expectation of oneself is betrayed. Similarly, the original figure of Puer Aeternus is bound to the maternal being, but it bears the impulsive nature that seeks to flee from that being. In other words, the “idealized masculinity” is the pattern of behavior of Puer Aeternus, and this research concludes that the inner side of the idealized masculinity is the figure of a child that consists of the lack of Amae.; The purpose of this research is to contemplate the issue of masculinity that appears on three pieces of animation that Anno Hideaki is involved in, through the concept of Amae and Puer Aeternus. The reason that this research uses concepts of Amae and Puer Aeternus is that these concepts are useful in proving the association of Japanese mental culture and masculinity. “Amae” is the origin of the spiritual composition of Japanese people, and the word refers to the dependent mind to the mother. Puer Aeternus, Jungian concept, also refers to the dependent mind of males to their mothers. In other words, it refers to the original figure of males who want to remain like a young boy forever. This research assumed that the essentials of the masculinity that appears on Anno’s pieces more clearly if the analysis is made on the mental, cultural perspective, using Puer Aeternus that does resist the growth and Amae that forms the basis of Japanese mental culture.

As the analysis work, this research has selected Neon Genesis Evangelion, Wings of Honneamise, and Nadia: The Secret of Blue Water. Among these pieces, Anno Hideaki participated in the latter two pieces as drawing and general director, not as the scriptwriter. The reason which the research chooses pieces by Anno Hideaki is that three of the pieces that he has participated in display different types of masculinity through their male protagonists. In other words, the protagonist-boy of Neon Genesis Evangelion, the piece which Anno Hideaki directly influenced the scriptwriting, displays a significant difference to protagonist-boys that appear on Wings of Honneamise, and Nadia: The Secret of Blue Water.

From the macroscopic perspective, the protagonist-boy that appear on Wings of Honneamise and Nadia: The Secret of Nadia display the typical and conventional masculinity of the Japanimation. However, the protagonist-boy of Evangelion displays the type of masculinity that differs from the conventional paradigm. First, the boy of Evangelion resists to the nominal fight, and he continuously questions on why does he fight. Second, this piece directly displays the “desire to Amae.” The protagonists in the piece display a strong sense of lack of parents, leading to the desire that pursuits Amae.

The following three elements are the features that this research has focused on while analyzing the issue of masculinity. The first element is the “idealized masculinity” depicted in each piece. In this context, the idealized masculinity refers to the figure that is considered socially upright. This research has focused on how three pieces of animation depict the idealized masculinity of a boy. The second element is the motivation of action for the boy. Considering that backgrounds for all three pieces are war, the research has focused on the motivation which drove the boy to fight the war. The last element is that the research has focused on the original figure of the protagonist depicted in each piece. In this regard, the analysis was conducted using concepts of “Puer Aeternus” and “Hero.”

The analysis result shows that the Japanese mental culture and masculinity connect to each other by Ambitendenz. Ambitendenz refers to the condition in which the opposite emotion or tendency co-exist. This research has examined that Amae and Puer Aeternus bear Ambitendenz in common. The one with the “lack of Amae” becomes extremely dependent upon the “maternal being,” but he becomes very accidental and impulsive when feeling that the expectation of oneself is betrayed. Similarly, the original figure of Puer Aeternus is bound to the maternal being, but it bears the impulsive nature that seeks to flee from that being. In other words, the “idealized masculinity” is the pattern of behavior of Puer Aeternus, and this research concludes that the inner side of the idealized masculinity is the figure of a child that consists of the lack of Amae.