В номере CINEPHILE про аниме (Vol. 7, No. 1, Spring 2011) самое интересное - это цитируемая литература. Вот ещё пара двойных цитат из «Mamoru Oshii’s Ghost in the Shell 2: Innocence» by Frédéric Clément
In contemporary anime, the stability of corporeality seems to be a major issue for the ‘little girls’ studied by Napier: one gradually becomes transparent when she is transported to a ‘fantastic world’ and must even forgo the use of her name, thus falling into a kind of lin- guistic invisibility (Spirited Away, Hayao Miyazaki, 2001); another, wandering in a ‘surreal world’, seemingly ends up being impaled by thousands of flying swords and physically disappears, but also ‘vanishes’ from her friends’ memories (Shôjo Kakumei Utena, Kunihiko Ikuhara, 1997); ... Napier also identifies the protagonist of the first Ghost in the Shell film (Mamoru Oshii, 1995), a cyborg police officer named Motoko Kusanagi who inhabits a little girl’s body at the very end of the film, as “the most prominent progenitor of the disappearing shôjo”. [Napier, Susan J. Anime From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. New York: Palgrave Macmillan, 2001. Print.]
The specific prohibition against showing pubic hair, however, may have indirectly encouraged some clev- er erotic manga artists to draw prepubescent girls as sex objects, with ridiculously inflated breasts. What- ever the original motivation, in the 1980s traditional erotic manga for adult men...gradually gave way to erotic manga with a rorikon flavor. Instead of adult males doing very adult things to mature women (neighbours’ wives, waitresses, office workers, buxom foreigners, that sort of thing), the sex objects became increasingly ‘cute’ – and younger. [Schodt, Frederik L. Dreamland Japan: Writings on Modern Manga.
Berkeley, CA: Stone Bridge, 1996. Print.]