theguardian.com
Cosplay's Global Reach: A Photographer's Insight
Photographer Niccolò Rastrelli documents the global cosplay phenomenon in his project "They Don't Look Like Me," photographing cosplayers at home with their families, revealing generational differences in acceptance and the artistic expression of this hobby across various countries, including Italy, Japan and Kenya.
- What future trends in cosplay, based on Rastrelli's observations, are likely to emerge in various global regions?
- Rastrelli's project suggests a future where cosplay's mainstream acceptance grows, as younger generations demonstrate greater understanding and appreciation for the artistic expression involved. The diverse range of ages (from teenagers to those in their 40s and 50s) and geographic locations captured in his photography hints at the long-term staying power of cosplay as a significant cultural phenomenon, with potential expansion into Latin America.
- What is the primary global impact of Niccolò Rastrelli's "They Don't Look Like Me" project on our understanding of cosplay?
- Niccolò Rastrelli, a photographer, documents the global cosplay phenomenon by photographing cosplayers in their homes with their families. His project, "They Don't Look Like Me," highlights the contrast between the cosplayers' fantasy identities and their everyday lives, revealing the generational differences in acceptance of this hobby. At least half of the 200 cosplayers he approached couldn't participate due to parental disapproval.
- How do generational attitudes towards cosplay, as depicted in Rastrelli's photographs, affect the participation and expression within the cosplay community?
- Rastrelli's work explores the cultural impact of cosplay, showcasing its evolution from its origins in 1970s and 80s Japan to its current global presence. He contrasts the professional-quality costumes in Japan and Europe with the more homemade creations in Kenya, illustrating the varied resources and cultural expressions within the cosplay community. The project reveals the cosplayers' dedication and passion, often met with parental reservations.
Cognitive Concepts
Framing Bias
The narrative is framed around the photographer's personal journey and artistic vision. This approach, while providing a personal and engaging account, might inadvertently overshadow the cosplayers' own experiences and perspectives. The emphasis on the photographer's initial concept and its evolution through challenges and successes could potentially downplay the rich diversity of cosplay culture itself. The title, "They Don't Look Like Me," while intriguing, frames the project through the photographer's lens, focusing on the visual difference between the cosplayers and their families rather than the broader aspects of cosplay.
Language Bias
The language used is generally neutral and descriptive. The article uses positive language to describe cosplayers and their passion. However, phrases like "homemade feel" when describing Kenyan costumes could be interpreted as subtly implying a lower quality compared to Japanese or European costumes. Using more neutral descriptors for the costumes would avoid such subtle value judgments.
Bias by Omission
The article focuses heavily on the photographer's personal experience and process, potentially omitting broader perspectives on cosplay culture and its diverse expressions across different geographical locations and demographics. While the article touches upon cosplay in Japan and Kenya, a more in-depth exploration of the global phenomenon would enrich the analysis. The inclusion of cosplayers from a wider age range and socioeconomic backgrounds would provide a more comprehensive representation. The perspectives of parents whose children chose not to participate, or those with negative opinions of cosplay, are missing, which could offer a more balanced view.
False Dichotomy
The article doesn't present a false dichotomy, but it does present a somewhat narrow focus on the relationship between cosplayers and their parents. While this is the photographer's chosen angle, it could be perceived as limiting the understanding of cosplay culture as a whole. The focus on the contrast between cosplayers' identities and those of their parents could overshadow other important aspects of cosplay.
Gender Bias
The article doesn't exhibit explicit gender bias. Both male and female cosplayers are featured. However, a deeper analysis of the representation of genders within cosplay subcultures and the photographer's portrayal of them would offer a more complete picture.
Sustainable Development Goals
The project highlights the global nature of cosplay, showcasing participants from diverse socioeconomic backgrounds and geographic locations, thereby indirectly promoting inclusivity and challenging stereotypes.