| Abstract: | The long-running Japanese children's media franchise Doraemon is commonly interpreted both inside and outside academic discourse as a representation of a positive vision of the future, an analysis based partially on its portrayal of a lovable robot. This view is supported by the series' use of ‘science’ to represent unlimited accessibility, and the branding of the series as a companion to children's scientific education. Doraemon's celebration of the future's boundless potential is complicated, however, by the impulse in recent works to reject the same notion of ‘progress’ on which the series relies. The works remain frozen in a romanticised vision of 1960s’ Japan, and have come to connote childhood nostalgia while presenting characters that do not grow or change over time. In the 2008 film Nobita to Midori no Kyojinden, the perpetual act of returning that defines much of Doraemon today is taken to a dramatic extreme, as a pre-modern ideal becomes the blueprint for both morality and might. Doraemon constructs temporal mixtures that simultaneously glorify both the past and the future. |
