Tearing through the screen: diegetic credits, dialogic media, and fictional reality in Kon Satoshi’s Paprika

This article offers an examination of Japanese anime director Kon Satoshi's artistic style, with a particular focus on his presentation of the title credits, by tracing his career as an internationally acclaimed auteur. It argues that Kon's last film Paprika (2006) can be read as a bold experiment that collapses the distinction between physical existence and media representation, which is manifested at two levels: visually, by the translucent projections of the credits and narratively, by the recurring trope of the butterfly dream. It demonstrates that Kon develops a unique aesthetic over his career that blurs the boundary not only between reality and fiction within the diegetic space, but more significantly between the diegesis (i.e., the fictional universe depicted in the animated films) and the tangible, everyday reality that we dwell in. From the perspective of media ecology, this article proposes to consider the diegetic space, which tends to be treated as a commodity that we unproblematically consume, as something that is thoroughly imbricated in and dialogized with our concrete existence in the physical reality.