1. Multiplanar Image vs. Cinematism in AnimationThomas Lamarre argues that the multiplanar image challenges the traditional cinematic understanding of depth and movement. Cinematism creates the illusion of moving directly into a three-dimensional space, usually through perspective, camera movement, and carefully coordinated layers. This makes viewers feel as though they are traveling forward into the screen.In contrast, Japanese animation often uses animetism, which emphasizes movement across the image rather than directly into it. Different visual layers can move independently, creating a sense of openness and unusual depth.For example, in Steamboy (2004), Lamarre describes a train sequence in which the countryside appears like a cardboard diorama. Houses, trees, and hills look like separate flat cutouts, but their independent movement creates an interesting sensation of depth. Similarly, in Castle in the Sky (1986), the layers of clouds and architecture slide past one another, producing a floating and almost dizzying visual experience.Lamarre contrasts these techniques with Disney's multiplane camera, particularly its use in Snow White and the Seven Dwarfs (1937). Disney's technique carefully coordinates the layers to maintain perspective and create the illusion of moving into a three-dimensional world.The psychological impact is also different. Cinematism can make viewers feel as though they are rushing toward a destination, while animetism encourages viewers to experience movement in a more sideways, floating, and less predictable way. Lamarre suggests that these differences affect how audiences experience space, speed, and their relationship with the animated world.2. The Superflat, Superplanar, and the Politics of Visual FieldsMurakami Takashi's concept of Superflat connects traditional Japanese art, particularly ukiyo-e woodblock prints, with contemporary manga and anime. He argues that these styles share a tendency to flatten visual space, making different elements appear to occupy the same surface rather than creating conventional three-dimensional depth.Lamarre discusses how Murakami uses examples from anime, including Yoshinori Kanada's animation in Galaxy Express 999, to demonstrate this aesthetic. Limited animation often uses only a few layers, with characters moving across relatively static backgrounds. This produces a visual style in which viewers' eyes travel across the image instead of following traditional perspective into the distance.However, Lamarre critiques Murakami's interpretation because it overlooks the importance of movement and the gaps between visual layers. He argues that anime is not simply flat or two-dimensional. Its layers can move independently, producing complex spatial and sensory experiences that cannot be explained by flatness alone.Lamarre therefore develops the idea of superplanarity and encourages us to think about how different planes interact and move. His argument is that anime's visual identity comes not only from its flat appearance but also from the relationships and movements between its layers.Overall, Lamarre challenges Murakami's interpretation by showing that anime's visual field is more dynamic and complicated than the concept of Superflat suggests. Rather than treating flatness as a fixed visual characteristic, he emphasizes movement, spatial relationships, and the viewer's experience.ConclusionUltimately, Lamarre argues that anime should not be understood simply as a flat art form. Its visual power comes from the interaction between layers, movement, and information. While cinematism creates depth through forward movement, animetism creates alternative ways of experiencing space and motion. His critique of Murakami also shows that visual aesthetics have political meanings, especially when images of war, destruction, and Japanese national identity are interpreted as expressions of weakness or powerlessness. An important additional point about Lamarre's political critique: He questions Murakami's tendency to interpret Japanese popular culture through national impotence in relation to American military power. Lamarre argues that this interpretation risks overlooking Japan's own history of militarism and aggression. He proposes understanding superplanarity instead as a complex information-rich visual field. lamarre-mediaken.com 1Reading: Thomas Lamarre, The Multiplanar Image, pp. 120–142. Read the original paper (PDF).Reminder for the final discussion requirementAfter publishing your post, return to the discussion, read at least two classmates' contributions, and write a meaningful response to each. You can share their posts here later, and I can help you prepare two thoughtful replies.