Introduction 1

Notes Introduction 1. Character- related data does not include the merchandising of the highly popu lar Hello Kitty, Domo- kun, Power Rangers, and Transformers. 2. Roland Kelts, interview, Baltimore, July 31, 2011. 3. For a definition of globalization, we follow Tomlinson (1999) who defined globalization as complex connectivity that is derived from the rapidly developing and ever denser network of interconnections and interdependencies that characterize modern social life. In this book, however, more often than using globalization, we use cultural globalization or the globalization of culture/media/content/anime. In so doing, we refer to the ways in which ideas, values, knowledge, and symbolic vehicles of meanings are transmitted across the globe and between cultures. 4. Creative industries, which are also referred to as cultural industries, have been vari- ously defined since Adorno and Horkheimer coined the term “cultural industries” for their critique of mass society in their 1944 book Dialectic of Enlightenment (Adorno and Horkheimer 2007). We adopt a much more pragmatic definition for creative industries, coined by the British Council for U.K. international cultural relations and educational opportunities: the socioeconomic activities that trade with creativity, knowledge, and in- formation. British Council, Creative Cities, http:// creativecities . britishcouncil . org / creative - industries / what _ are _ creative _ industries _ and _ creative _ economy (accessed July 19, 2016). 5. Fansubs (short for fan- subtitled) are fan- translated versions of anime programs (as opposed to officially licensed translations done by professionals) and subtitled into a lan- guage other than the original. See Anime News Network http:// www . animenewsnetwork . com / encyclopedia / lexicon . php ? id= 6 3, accessed April 22, 2017. 6. The Pokémon Company, Pokémon in Figures, http:// www . pokemon. co.jp/corporate /en/data (accessed July 29, 2017). 7. Quoted in “Sony: Bad Strategy or Bad Management,” The Economist, Mar. 10, 2005, http:// www . economist . com / node / 3738979. 176 Notes to Pages 12–34 8. We thank Marco Pellitteri for bringing this point to our attention. 9. Animation: An Interdisciplinary Journal, home page, http:// www . uk . sagepub . com / journals / Journal201763 (accessed Dec. 2, 2014). 10. The first Comiket was an intimate event that drew about six hundred people (Yo- nezawa 1987: 75–88). It soon developed into a huge fan convention, which today draws nearly six hundred thousand people over three days, twice a year. 11. The nickname otaku is said to have been in ven ted by Nakamori Akio in a 1983 edi- torial piece titled “Otaku no kenkyū 1” (A Study of Otaku, 1) in the manga magazine Manga Burikko. Nakamori suggested referring to these fans of drawn worlds as otaku in- stead of mania, the term that is usually used for describing enthusiastic fans in Japa nese (mania derives from the En glish word “mania,” but is closer in meaning to “maniacs”). According to Nakamori, mania does not evoke the unique characteristics of these fans, who are great experts in their topics of interest but lack social skills. Clearly demonstrat- ing this social awkwardness among themselves, the fans commonly use the term otaku, which is a deferential, formal second- person pronoun. However, according to Murakami Takashi (2001: 62), the eccentric use of otaku as a colloquial second- person pronoun did not start due to a lack of social skills but as a sociolect in the anime Chōjikū yōsai maku- rosu (Super Dimensional Fortress Macross, created by Kawamori Shōji, directed by Ishiguro Noboru, Studio Nue, 1982). Hikaru Ichijo, the protagonist in the anime series, often uses the pronoun otaku when addressing others. Fans of the studio’s work began using the term, and it entered common use among the fans who gathered at comic mar- kets, fanzine meetings, and the all- night parties held before major anime movie releases. 12. We conducted three wide- scale surveys for this research. The first was conducted between 2009 and 2010 with the aim of producing a database of anime series that were commercialized in the United States or broadcasted on American tele vi sion between 1993 and 2010. The second was conducted between 2009–2012 with the aim of producing a database of Japanese– American and Japanese– European collaborations in tele vi sion animation proj ects that aired in the United States and in Eu rope between 1982 and 2011. The third was conducted between 2009–2015 with the aim of producing a database of anime- inspired cartoons produced around the world between the late 1990s until 2015. 13. “An Exclusive Interview with Glen Keane,” interview by Michael J. Lee, Radio- Free . com, Oct. 24, 2010, http:// movies . radiofree . com / interviews / tangled _ glen _keane . shtml. Chapter 1 1. Sam Register, interview, Los Angeles, Apr. 4, 2011. At the time, Register was executive vice president at Warner Bros. Animation. 2. Teen Titans (coproducer, 2003); Hi Hi Puffy Ami Yumi Show (creator and executive producer, 2004), Ben Ten (executive coproducer, 2005); ThunderCats (executive producer, 2011). He is also a coproducer of the anime version of The Powerpuff Girls: Demashita! Powerpuff Girls Z (2006). 3. For an account of the Japa nese tele vi sion animation productions that preceded Astro Boy, see the introduction to this book..

Load more