The Intertextual Relations Inbetween Disney's Pinocchio and Astro Boy

In today’s modern age, it is common for authors to incorporate textual features borrowed from other texts in order to influence the audience and deepen the meaning of a text, based on the audiences’ previous knowledge and understanding. Intertextual relations between texts appeal to a larger audience due to mass communication. At the core of Osamu Tezuka’s Manga series ‘The Mighty Atom’ (1963), intertextuality is manifested within its characterisation, ideas, events and the genesis of the text itself. Hence, Tezuka’s implementation of a globally recognisable classical musical composition, which allows the engagement of a wider ranged audience. Furthermore, intertextuality is present in the characterisation of Astro Boy which is similar to that of Disney’s protagonist character Bambi, attracting western views. Finally, the famous Disney’s Pinocchio had a great influence on the genesis of Astro Boy in the sense that Astro Boy is the ‘20th Century reverse Pinocchio’, interconnecting a wide audience spectrum.

Osamu Tezuka’s implementation of a globally recognisable classical musical composition allowed him to engage a wider audience. In the first episode of Astro boy, a famous western piece of classical music was used in the creation scene. Beethoven’s Symphony No5 “Thus, Fate knocks at the door” is heard playing in the background of possibly the most important and foundational scene; the creation of Astro boy. The 5th symphony begins playing at the touch of Dr Tenma’s fingers, as he presses the buttons as if he is playing the piano himself. Meanwhile jolts of electricity are seen flowing into Astro’s body. The symphony then ends when Astro Boy opens his eyes. The use of metaphor directly links Beethoven’s Symphony and Dr. Tenma’s love towards his lost son Tobio by turning to electricity, bringing Astro Boy to life. The music being in sync with Dr. Tenma’s fingers further indicates the link between him and Beethoven’s “Thus fate knocks at the door” creating a strong emotional surge in the audience, signifying the importance of the scene. The use of classical music in anime films is a very effective channel for a broad audience accustomed to listening to music. Specifically, Beethoven’s 5th Symphony is widely considered one of the cornerstones of western music and was widely recognised globally even from the younger generations of today. Evidently, Osamu Tezuka’s implementation of this famous classical composition appeals to a larger audience.

Osamu Tezuka’s Astro Boy is similar to that of Disney’s Bambi, attracting western views appealing to a wider range of audiences. Tezuka’s love of Disney and the influence of their style can be interpreted in the scene where Astro Boy first appears. His facial traits such as the thickness and curve of his brows, his oval shaped eyes and small rounded nose are similar to that of Bambi, a film in which he allegedly viewed over 60 times. Even Astro Boy’s behaviour is similar to Bambi’s, struggling to stand straight upon his first time walking, corresponding to how Bambi seems to slip on his first time on ice. These similar intertextual characterisations between both films attract western views in particular, as Disney is greatly recognised by western civilisation as it plays a quintessential part it the entertainment and animation industry. Moreover, the association between the Japanese Astro Boy and the American Bambi allows audiences to recall the conflict between Japan and the United States in the second world war, in which both text types act as an indirect response to the larger societal concern of conflict. Essentially, the intertextual relationship between the characterisations of the Japanese Astro Boy and the American Bambi creates a sense of unification between both parties, and through the implementation of mass communication, attracts a wider audience.

The famous Disney’s Pinocchio had a great influence on the genesis of Astro Boy – even so, that Astro Boy is the “20th Century reverse Pinocchio” – further interconnecting a wide audience spectrum. For example, when Dr. Tenma confronts his son Tobio, he asks him: “How come you never grow, even an inch?!”. Rhetorical questioning signifies Astro Boy’s inability to grow therefore stating that he is unable to fit into the current society and their expectations. As is evident with Walt Disney’s adaptation of Carlo Collodi's 1883 children's story, which embraces the desire of a freshly-carved wooden puppet to become a real boy. However, although the plot of both stories is similar, the characters are quite the opposite. In the beginning, Pinocchio is seen to be a selfish lying coward whilst Astro Boy is honest, unselfish and brave. Both characters experienced hardship not only with fitting into societies standards but also being manipulated by antagonists (as is the common trope of many fairy tales). Nevertheless, both pushed through the hardships and struggles and through the transition from wooden puppet to a real boy, Pinocchio found his true self and became honest, unselfish and brave. That said, Tezuka was interested in adapting the fundamental ideas of the Pinocchio story to the Japanese context after Hiroshima. Once more, he places the context of the war in the past allowing for an interconnected audience base, integrating them with the archetype of development and redemption.

In conclusion, borrowing textual features from other texts influence the audience and deepen the meaning of a text, based on the audiences’ previous knowledge and understanding. Tezuka exemplifies this by using intertextual implementing intertextuality between texts to appeal to a larger audience as a basis of mass communication. By borrowing physical and characteristic traits from text types and a globally recognisable classical musical composition from different text types, and with the audience’s prior knowledge, he allowed audiences to understand, interpret and engage with the text.