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Manga Outside the Frame(Work)

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Manga Outside the Frame(Work) Manga Statistics Japanese youth products, manga included, now account for more of the nation’s exports than either automobiles or steel. (Allison, 12). 2 3 4 Research Questions -Why doujinshika do what they do? -How the doujinshi market came to be so large? -Where are the copyright lawyers?! Why mainstream manga publishers and creators allow doujinshi markets like Comiket to exist? COMIKET!Comiket- Mecca of the Otaku World 9 Methods -Filmed the proceedings and wrote field notes -Distributed a survey to doujinshika centering on their relationship to mainstream manga, both its content and its means of production -Interviewed doujinshika, attendants, & volunteers Japanese Copyright JAPAN COPYRIGHT LAW CHAPTER II, SECTION 3 (Right of preserving the integrity) Article 20. (1) The author shall have the right to preserve the integrity of his work and its title against any distortion, mutilation or other modification against his will. (Rights of translation, adaptation, etc.) Article 27. The author shall have the exclusive rights to translate, arrange musically or transform, or dramatize, cinematize, or otherwise adapt his work. (Right of the original author in the exploitation of a derivative work) Article 28. In the exploitation of a derivative work, the author of the pre-existing work shall have the same rights as those the author of the derivative work has under the provisions of this Subsection. ContentManga Symbiosis Industry Benefits from Doujinshi Market -Innovation -Replenishing pool of creative talent Doujinshi Production Mainstream Manga Production -Compelling storyline, character -Popularity Springboard Industry or Community? “I don't ever want to “I do this because I love work for a manga com- these characters- I want to pany; it would only be put my own interpretation restrictive” on the series because of my -Female, mid 30s love for them” -Female, mid 20s “Being a manga assistant is fun, but it's “My favorite part is being so procedural. Doujinshi around all the other doujin- is freeing. I sell at Comi- shika; when I see their passion ket for fun and to meet it makes me want to try hard people.” as well” -Female, early 40s -Female, late 20s Comiket- “a sacred space” uniting fans under the desire to covet & create Sacred Space <3 The Otaku Comiket Crew Bibliography • Allison, Anne. "The Japan Fad in Global Youth Culture and Millennial Capitalism." Mechademia 1: Emerging Worlds of Anime and Manga. Ed. Frenchy Lunning. 1st ed. Minneapolis: University of Minnesota Press, 2006. 11-22 • Gravett, Paul. Manga, Sixty Years Of Japanese Comics. New York City: Harper Design, 2004. • Johnson-Woods, Toni, ed. Manga: An Anthology of Global and Cultural Perspectives. Reprint ed. New York City: Continuum, 2010. Print. • Kanemitsu, Dan. "Celebration Through Self-Expression: An Introduction to Modern Japanese Comic Book Doujinshis ." Storm Front Journal. 0. n. page. Web. 15 Nov. 2011. <http://www.translativearts.com/tekri/doujin/celebrate.htm>. • Ortabasi, Melek. "National History as Otaku Fantesy: Millenium Actress." Japanese Visual Culture: Explorations in the World of Manga and Anime. Ed. Mark MacWilliams. Armonk: M.E.Sharp, Inc., 2008. 274-294. • Oyama, Yukifusa, trans. Japan. Copyright Law of Japan. Research and Infomation Center (CRIC), 2011. Web. <http://www.cric.or.jp/cric_e/clj/clj.html>. • Quigley, Kevin, ed. Comics Underground -- Japan: A Manga Anthology. New York City: Blast Books, 1996. • Saroyan, Stawberry. "Storyseller." New York Times [New York City] 17 Jun 2010, Sunday Magazine MM26. • Schodt, Frederik L. Dreamland Japan: Writings On Modern Manga. 1st ed. Berkley: Stone Bridge Press, 2007. • Sharon Kinsella. 1998 “Japanese Subculture in the 1990s: Otaku and the Amateur Manga Movement”. Journal of Japanese Studies 24, no. 2 (289-316) (stats: 30-49) • Steinberg, Marc. 2004. “Otaku Consumption, Superflat Art, and the Return to Edo” Japan Forum 16 no.3: 449-471 <http://reason.com/archives/2004/12/01/disneys-war-against-the-counte> • "Special Feature: Japan,Global Headquartes Of Manga." Nippon. 4. (2010). • United States. U.S. Copyright Office. U.S. Copyright Law, September 2011. Washington: Library of Congress, 2011. Web. <http://copyright.gov/title17/>. .
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