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Rise of the Otaku: Investigating the Anime Fandom in South Africa

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Rise of the Otaku: Investigating the Anime Fandom in South Africa RISE OF THE OTAKU: INVESTIGATING THE ANIME FANDOM IN SOUTH AFRICA BY TRISHA RAMRATHEN (208506528) Submitted in fulfilment of the academic requirements for the degree of Master of Arts in Media and Cultural Studies in the School of Art, University of KwaZulu-Natal, Durban. Rise of the Otaku COLLEGE OF HUMANITIES DECLARATION - PLAGIARISM I, Trisha Ramrathen, declare that 1. The esearchr reported in this thesis, except where otherwise indicated, is my original research. 2. This thesis has not been submitted for any degree or examination at any other university. 3. This thesis does not contain other persons’ data, pictures, graphs or other information, unless specifically acknowledged as being sourced from other persons. 4. This thesis does not contain other persons’ writing, unless specifically acknowledged as being sourced from other researchers. Where other written sources have been quoted, then: a. Their words have been re-written but the general information attributed to them has been referenced b. Where their exact words have been used, then their writing has been placed in italics and inside quotation marks, and referenced. 5. Thisthesis does not contain text, graphics or tables copied and pasted from the Internet, unless specifically acknowledged, and the source being detailed in the thesis and in the References sections. Signed ……………………………………………………………………………… A Rise of the Otaku Acknowledgement Acknowledgement I would like to express my gratitude to my supervisors Professor Jean-Philippe Wade and Ms. Giuditta Toniolo for the useful comments, remarks and engagement through the learning process of this master thesis. Also, I would like to thank the participants of my study, who have willingly shared their precious time and information during the process of interviewing. I would like to thank my loved ones, who have supported me throughout the entire process, both by keeping me harmonious and sane, and helping me in putting together all the information. I will forever be grateful for everyone’s support and love. B Rise of the Otaku Abstract Abstract This ethnographic research project is an empirical investigation into the nature of the anime subculture and the practices of its fans (popularly known as ‘otaku’ in Japanese culture) in South Africa. Subcultural theory was used to outline the key characteristics of a typical subculture. My work has drawn heavily from Paul Hodkinson’s (2002) interesting attempt to combine the theoretical strengths of both ‘traditional’ subcultural theories and their post-modern critiques. Resisting the post-modern tendency to see subcultures as ephemeral and fluid, Hodkinson outlines four key elements that define a grouping of people as having sub-cultural substance: autonomy, identity, consistent distinctiveness and commitment. In order to introduce, explore, and investigate the practices of the anime fandom in South Africa, I have made extensive use of these four subcultural characteristics. Henry Jenkins and John Fiske’s seminal work on fandom and fan studies will be useful in this paper as I shall be attempting to understand how and why fans in South Africa enjoy and relate to anime. While utilising the testimonies of otaku, this thesis is also self-reflexive, and places my fandom within the context of cultural studies research, in order to provide a more in- depth investigation. KEYWORDS: anime; subculture; fans; fandom. 1 Rise of the Otaku Table of Contents Introduction 3 Chapter 1 10 Flashing Back: A Brief History Of Anime 10 Comparing Anime to Western Cinema 11 Popularity of Anime 13 Who is the Otaku? 14 Anime Theory 14 Anime Underground 17 Chapter 2 21 Theoretical rameF work 21 Subcultural Theory 21 Fans and Fandom 31 Chapter 3 39 Methodology 39 Chapter 4 56 Findings and Analysis 56 Conclusion 92 Bibliography 99 Appendix A 104 Appendix B 115 I Rise of the Otaku Introduction Introduction “Of course I believe that other worlds exist. If they didn’t, life wouldn’t be interesting. It’s like love: you can’t see it but it exists- simply because you believe it. It’s just a matter of believing” -Hayao Miyazaki “Even when our eyes are closed, there’s a whole world that exists outside ourselves and our dreams” - Hiromu Arakawa (Fullmetal Alchemist) Sitting quietly in the library of The University of KwaZulu-Natal, I am banging away at my laptop, that I have aptly named Chibi (meaning ‘small’ in Japanese) listening to J-Rock (Japanese rock) while reading up on anime theory for this research paper. This is a typical day in my life as anime has always played an important role in my life, more especially since I entered high school. Without even knowing, or understanding what exactly anime was, I had a deep fascination for it, downloading anime and manga images for my cell phone and even sketching characters and scenes that I found inspiring. Growing up in an Indian home and community, you would think that my interests and lifestyle choices would have no doubt been influenced by Indian cultural factors. But that is not exactly what happened in my life. While I participated in regular Indian community activities (such as Diwali festivals, and Hindi talent shows), they never really captured my attention. From a young age I have always been fascinated by Japanese people and their culture. It all began when I watched a series of the Japan Video Topics that was aired on SABC 3. I was captivated by the culture and lives of the Japanese people. As I grew older I became amazed with manga (Japanese comics), and anime (Japanese animation), often downloading anime wallpapers for my cell-phone. This was the beginning of my attraction to anime and manga. It simply amazes me at how something so foreign, can hold such attraction to South Africans, because as I soon learnt, there are a large number of other fans, not only in Durban, but South Africa as well. When I entered university in 2008, I had access to the Internet and quickly began searching for anime pictures, which led me to watching AMVs (anime music videos), from which my interest in anime grew. However I had no access to download anime so I remained in awe of it from afar. It was during my second year at university (2009) when this fascination was turned into a hobby. I met people (who quickly became my closest friends) who spoke of how amazing the Bleach1 anime was and how I should I watch it. By the beginning of my third year, I had attained a copy of the first 25 1 Bleach follows the life of 15 year old Ichigo Kurosaki, who discovers that he has the powers of a soul reaper, and must soon use these powers to save people. 3 Rise of the Otaku Introduction episodes of Bleach, which I excitedly took home to watch, and I ended up watching about five episodes that night alone. And the rest, as they say, is history. Obtaining anime in South Africa is quite a difficult task for fans to accomplish, because there are currently no anime-specific tv channels, nor do local retailers stock anime merchandise. The few stores that do stock anime DVDs and/or manga, have a very limited range to choose from, while also being unaffordable. These are the main reasons why anime fans often embark on the illegal underground journey of piracy such as streaming online or downloading episodes and/or entire series from the Internet. That being said, it is therefore important to understand exactly what the term anime is, in order to appreciate the subculture and fandom behind it. When someone says the word animated, people automatically assume that it means the show is of immature and childish content; however, that is not the case with American animated shows such as The Simpsons, King of the Hill, South Park etc. If people can deem these cartoons to contain adult content and not allow their children to watch them, then why is it so difficult for viewers to accept anime as animated shows that also include mature content? The reasoning behind this condescension comes in the form of popular children’s anime shows such as Pokémon and Digimon, which are aimed at children, and are therefore childish in content, which many people assume to be typical of anime. If adult Westerners with no knowledge of anime were to walk into a video store and casually browse a selection of anime box covers, they might leave the store with little impression that anime is different than the animation with which they are familiar. If they were to spend the time to take a closer look at the art and text, they would realize that anime is somewhat different than the cartoons of their youth. They might notice the lack of animal characters and the diversity of genres, and they might even be surprised to find some of the few pornographic anime that exist. If they viewed some of the titles, they might note the dramatic nature of many stories, the titles for all age groups, the lack of musicals, the scarcity of goofball slapstick comedy, and many other differences from the Western animation with which most people are well acquainted (Poitras, 2008: 48). So what exactly is anime? Briefly speaking, anime is the Japanese form of animated television series. It is extremely popular all over the world and “[a]ccording to the Japan Information Network, Japan’s export market is approaching over 60 billion dollars, with 60 percent of all cartoon shows on TV throughout the world made in Japan” (MacWilliams, 2008: 14). From that quote, it is easy to see why anime is so popular throughout the world, when a majority of cartoons aired are actually anime.
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