DOCSLIB.ORG

Volume 2, Issue 4, December 2005 of Otakus and Fansubs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Volume 2, Issue 4, December 2005 of Otakus and Fansubs Volume 2, Issue 4, December 2005 Of Otakus and Fansubs: A Critical Look at Anime Online in Light of Current Issues in Copyright law Jordan S. Hatcher, JD, LLM * Abstract The advent of digital technology and increased global connectivity has, to put it mildly, caused some ripples for the entertainment industry specifically and copyright law generally. In the aftermath, many are searching for new ways to incorporate the benefits of digital copies and the internet while minimizing the harms. To some, the anime industry and its fans offer examples of how an industry can benefit and even grow from allowing copyright infringement. This article examines the anime industry in-depth with this suggestion in mind and places the industry among current copyright policy debates, such as those suggested by Lawrence Lessig. DOI: 10.2966/scrip.020405.514 © Jordan S. Hatcher 2005. This work is licensed under a Creative Commons Attribution-NonCommercial 2.5 Scotland License .+ * Jordan S. Hatcher, JD, LLM, recently graduated from the University of Texas School of Law and the University of Edinburgh, Scotland. He specializes in legal issues surrounding technology and intellectual property. He currently resides in Austin, Texas, where, among other things, he serves as on the board of EFF-Austin, and is collaborating with local activist groups on an open government amendment to the Austin city charter. He can be contacted at jordan _at_ twitchgamer dot net and at his corner of the web, http://twitchgamer.net No article ever comes into existence without some help, and the author would especially like to thank Dr. Andres Guadamuz, Bob Rietjens, and the entire AHRC Research Centre for studies in Intellectual Property and Technology law for their assistance. + This article is available in book form. Readers in the United States who would like a copy may purchase directly from Lulu.com at http://www.lulu.com/content/200908 . Readers outside of the US may request a copy directly from the author by contacting him at jordan at twitchgamer dot net. (2005) Vol 2:4 SCRIPT-ed 515 “Sailor Moon is like a gateway drug” 1 - Janet Varela, referring to her daughter’s new obsession with anime “Too many otaku are just wanting fansubs for a cheap anime fix” 2 - Rei-kun, member of fansubbers Kodocha Anime, describing digisubs 1. Introduction: Between Dojinshi and P2P The excesses of copyright law—from the legalities of peer-to-peer (p2p) networks to the intrusion of copyright law into the human body—have been a topic of great recent interest to both the legal world and the general public. 3 Scholars, such as Lawrence Lessig, have been propelled into celebrity for their work discussing the perceived excess and illogic of certain aspects of modern copyright law. 4 Under the term Free Culture , Lessig states that the re-working of culture—remix—is necessary to cultural growth, and that a healthy public domain and freedom from burdensome copyright restrictions facilitates this process. 5 He points to the hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed. 6 Certain features of digital technologies and the internet, 7 according to Lessig, can permit greater restrictions on remix than were allowed in the past. 8 He puts forth the theory that by rigidly applying our copyright laws to the new digital environment we increase the restrictions on remix and thus threaten this Free Culture. 9 Lessig and other legal scholars such as Mehra have pointed to dojinshi in Japan as an example of how permitting more “remix” can contribute to a vibrant cultural 1 Melissa Hung, Tooned Into Anime Houston Press (Texas) (Aug. 2, 2001). 2 Holly Kolodziejczak, The Volatile World of Fansubs: An Inside Peek! Animefringe Online Magazine @: <http://www.animefringe.com/magazine/01.07/feature/2/index.php3 > 3 See e.g., the recent case and associated commentary over peer-to-peer (p2p) file sharing in the U.S. Supreme Court, MGM Studios v. Grokster, Ltd. , 125 S. Ct. 2764 (2005); Marisa Kakoulas, The Great Tattoo Controversy , December 8, 2003, BMEzine @: <http://www.bmezine.com/news/guest/20031208.html > (concerning copyright in tattoos). 4 Lessig was recently featured in the hit US television show The West Wing . See Lawrence Lessig, West Wing Lessons February 10, 2005 @: < http://www.lessig.org/blog/archives/002421.shtml > (Lessig’s blog entry on the show); NBC, The West Wing , @: <http://www.nbc.com/The_West_Wing/index.html > (official site).Though they haven't appeared on prime-time network television, Siva Vaidhyanathan and Jessica Litman are both popular authors in this area that have reached a non-legal audience. 5 Lawrence Lessig, Free Culture: how big media uses technology and the law to lock down culture and control creativity (Penguin Books 2004) [hereafter Free Culture ]. 6 See e.g., Lawrence Lessig, The Future of Ideas: the fate of the commons in a connected world (Vintage Books 2001) [hereafter The Future of Ideas ]; Lessig, Free Culture . 7 For capitalization of the word “internet”, see Tony Long, It’s Just the ‘internet’ Now , Wired News (Aug. 16 2004) @: < http://www.wired.com/news/culture/0,1284,64596,00.html > 8 Lessig, Free Culture at 161 (“This change in the effective force of the law is caused by a change in the ease with which in can be enforced”). 9 Lessig, Free Culture . (2005) Vol 2:4 SCRIPT-ed 516 industry. 10 Dojinshi refers to self-published manga (Japanese comics) that involve famous characters created by someone other than the character’s creator, i.e., fan fiction. 11 So for example, a dojinshi author will take a popular character such as Harry Potter and create new adventures for the young sorcerer. 12 Unlike other jurisdictions such as the United States—what commentators such as Lessig point to—fans in Japan are free to create dojinshi through a combination of custom and certain features of the Japanese legal system. 13 Because of this freedom, the dojinshi business has grown enormously, to the point where some artists make a living off producing dojinshi. Comiket, a twice-yearly comic convention in Tokyo, attracts a massive 350,000 fans and artists to buy, sell, and trade dojinshi in one place. 14 Dojinshi-like practices are, of course, not isolated to Japan. In the west, Star Wars and Star Trek fans (among many others) routinely produce fan fiction and fan films based on the shows they love. 15 Some of these films may even find official sanction through fan film competitions in such places as online entertainment site Atom Films. 16 But unless authorized, these activities usually violate copyright law. 17 In the west, fans of anime , the term for Japanese animation, behave much like fans of Star Wars and Star Trek : they “remix” the characters and ideas from the stories they watch. 18 Especially in the United States, avid anime fans refer to themselves as otaku , much like avid Star Trek fans refer to themselves as Trekkies .19 Like other fans, otaku practice a wide variety of activities; all of which potentially infringe the copyright of the shows and films they love. 20 They create dojinshi. 21 They use captured graphics from shows to 10 Lessig, Free Culture at 25-29; Salil Mehra, Copyright and Comics in Japan: Does Law Explain Why All the Cartoons My Kid Watches Are Japanese Imports? , 55 Rutgers L. Rev. 155 (2002) [hereafter Copyright and Comics in Japan ]; Sean Kirkpatrick, Like Holding a Bird: What the Prevalence of Fansubbing Can Teach Us About the Use of Strategic Selective Copyright Enforcement , 21 Temp. Envtl. L. & Tech. J. 131, 147-48 (2003) [hereafter Like Holding a Bird ]. Dojinshi is also often spelled doujinshi . Wikipedia, Dojinshi @: < http://en.wikipedia.org/wiki/Dojinshi > 11 Wikipedia, Dojinshi ; Mehra, Copyright and Comics in Japan , at 155. See also Chilling Effects Clearinghouse, FAQ about Fan Fiction, @: < http://www.chillingeffects.org/fanfic/faq.cgi > 12 See e.g., House of Black, HouseOfBlack.net Doujinshi , @: <http://www.houseofblack.net/doujinshi/_dj_.html > ; DrMM, Addiction: A Harry Potter Doujinshi Website , @: < http://www.fuuko.com/doujinshi/ > 13 See Lessig, Free Culture at 25-29; Mehra, Copyright and Comics in Japan . See also discussion in The Legality of Fansubs, infra . 14 Wikipedia, Comiket , @: < http://en.wikipedia.org/wiki/Comiket >; Comiket, Welcome to the Official Comic Market Site , @: < http://www.comiket.co.jp/ > (mostly in Japanese). 15 E.g. Atom Films, Star Wars Fan Film Awards , @: <http://www.atomfilms.com/af/spotlight/collections/starwars/ >; John Borland, Star War fan films get Lucas nod , CNET NEWS.com @: < http://news.com.com/Star+Wars+fan+films+get+Lucas+nod/2100- 1026_3-5683654.html > 16 Atom Films, Star Wars Fan Film Awards . 17 See The Legality of Fansubs, infra . The exception to authorization is, of course, fair use or fair dealing . 18 For a scholarly look at “participatory culture”, see Henry Jenkins, Quentin Tarantino’s Star Wars?: Digital Cinema, Media Convergence, and Participatory Culture , @: <http://web.mit.edu/21fms/www/faculty/henry3/starwars.html > 19 The use of the word “otaku” in Japanese is different, but outside of Japan, most anime fans identify themselves by this term. Wikipedia, Otaku , @: < http://en.wikipedia.org/wiki/Otaku > . For more on the term, see resources collected at Lawrence Eng, Lawmune’s Anime Page , @: <http://www.cjas.org/~leng/anime.htm > 20 See 17 U.S.C.S. §106 (1), (2) (2005) [reproduction and derivative work rights]; Melville Nimmer & David Nimmer, Nimmer on Copyright § 3.01 (Matthew Bender 2005). Nimmer on Copyright ,. This is, of course, barring any fair use/fair dealing defenses. 21 See American Comiket, @: < http://amcomik.hakaze.com/about.html > (2005) Vol 2:4 SCRIPT-ed 517 create fansites and to make wallpaper for their computer desktops.22 They attend conventions and other events dressed as characters from their favorite shows; an activity known as cosplay .23 They create “Anime Music Videos”, or AMVs for short, which involve editing scenes from one or more anime series and setting the final product to music.
Load more

Recommended publications
  • Pdf 611.37 K
    Socio-Cultural and Technical Issues in Non-Expert Dubbing: A Case Study Christiane Nord1a, Masood Khoshsaligheh2b, Saeed Ameri3b Abstract ARTICLE HISTORY: Advances in computer sciences and the emergence of innovative technologies have entered numerous new Received November 2014 elements of change in translation industry, such as the Received in revised form February 2015 inseparable usage of software programs in audiovisual Accepted February 2015 translation. Initiated by the expanding reality of fandubbing Available online February 2015 in Iran, the present article aimed at illuminating this practice into Persian in the Iranian context to partly address the line of inquiries about fandubbing which still is an uncharted territory on the margins of Translation Studies. Considering the scarce research in this area, the paper aimed to provide data to attract more attention to the notion of fandubbing by KEYWORDS: providing real-world examples from a community with a language of limited diffusion. An exploratory review of a Non-expert dubbing large and diverse sample of openly accessed dubbed Fundubbing products into Persian, ranging from short-formed clips to Fandubbing feature movies, such dubbing practice was further classified Quasi-professional dubbing into fundubbing, fandubbing, and quasi-professional dubbing. User-generated translation Based on the results, the study attempted to describe the cultural aspects and technical features of each type. © 2015 IJSCL. All rights reserved. 1 Professor, Email: [email protected] 2 Assistant Professor, Email: [email protected] (Corresponding Author) Tel: +98-915-501-2669 3 MA Student, Email: [email protected] a University of the Free State, South Africa b Ferdowsi University of Mashhad, Iran 2 Socio-Cultural and Technical Issues in Non-Expert Dubbing: A Case Study 1.
    [Show full text]
  • El Fandom En La Juventud Española
    EL FANDOM EN LA JUVENTUD ESPAÑOLA 001-014 fandom en la juventud española PRESENTANCION.indd 1 24/05/19 08:13 EL FANDOM EN LA JUVENTUD ESPAÑOLA INVESTIGADOR PRINCIPAL: Daniel Cassany INVESTIGADORES: Cristina Aliagas Mariona Pascual Peñas Liudmila Shafirova María José Valero-Porras Boris Vazquez-Calvo Leticia-Tian Zhang COLABORADORES: Consuelo Allué José Miguel Ramudo 001-014 fandom en la juventud española PRESENTANCION.indd 2 24/05/19 08:13 Investigación inanciada a través de la convocatoria de Ayudas a la Investigación’ 2016, del CENTRO REINA SOFÍA SOBRE ADOLESCENCIA Y JUVENTUD, para ampliar el proyecto “ICUDEL. Identidades y Culturas Digitales en la Educación Lingüística”, del Programa Estatal de Investigación, Desarrollo e Innovación Orientada a los Retos de la Sociedad (EDU2014-57677-C2-1-R) del Ministerio de Economía y Competitividad, que llevó a cabo GRAEL (Grup de Recerca en Aprenentatge i Adquisició de Llengües), de la Universitat Pompeu Fabra (Barcelona). La convocatoria, de carácter anual, tiene como objetivo apoyar investigaciones sobre adolescencia y juventud desde cualquier perspectiva relacionada con las ciencias sociales. Cómo citar: Cassany, D (Coord); Aliagas, C; Mariona, P;Shafirova, L; Valero-Porras, M.J.; Vazquez-Calvo, B; Zhang, L (2019). El fandom en la juventud española. Madrid: Centro Reina Sofía sobre Adolescencia y Juventud, Fad. DOI: 10.5281/zenodo.3631707 © FAD, 2018 Edita: Centro Reina Sofía sobre Adolescencia y Juventud Fundación de Ayuda contra la Drogadicción (FAD) Avda. de Burgos, 1 y 3 28036 Madrid Teléfono: 91 383 83 48 Fax: 91 302 69 79: Maquetación: Joaquín Hornero Muñoz ISBN: 978-84-17027-17-9 001-014 fandom en la juventud española PRESENTANCION.indd 3 24/05/19 08:13 001-014 fandom en la juventud española PRESENTANCION.indd 4 24/05/19 08:13 ÍNDICE Presentación .........................................................
    [Show full text]
  • Gender, Politics and Manga in Current Chilean Art
    gaston j. muñoz j. Gender, Politics and Manga in Current Chilean Art Keywords: Contemporary painting, manga, gender, race, Chilean post-transition era Figure 1. Marco Arias 2000, from the El estado soy yo [I Am the State] series, acrylic, enamel, oil and fotocopy on canvas, 210 x 260 cm, 2015. Chilean painter Marco Arias created the work 2000 (fig. 1) not during the year its title signals, but in 2015 as part of a larger series called El estado soy yo (I Am the State). At first glance, we are taken by the many color- ful characters that are disposed over the canvas in a somewhat disshev- 115 elled, almost aleatory composition. We recognize many cartoon charac- ters with their schematic outlines, but also more realistic characters, and even a mix between both modes of representation. They vary in shape, color and size, and almost seem to be distributed according to an uniden- tified value scale. However, a closer inspection of the painting will lead us to appreciate a certain layering and box-like grid arrangement that ren- ders this particular piece of transcultural art a nostalgic one at its core. Arias was born in 1988, the same year that Augusto Pinochet’s dicta- torship was voted to a close over a national plebiscite. He was only two years old when Chile returned to democracy, and twelve years old at the turn of the century. This means that, growing up in the 1990s, the artist was introduced to a wide variety of media content through the television screen: current events, toy commercials, political news, and Japanese ani- me.
    [Show full text]
  • Japon Digital
    UNIVERSIDAD NACIONAL AUTONOMA DE MÉXICO FACULTAD DE ESTUDIOS SUPERIORES ACATLÁN MARYAN MARTIN GUTIÉRREZ JAPÓN DIGITAL: REPORTAJE SOBRE LA DIFUSIÓN DE LA CULTURA POPULAR JAPONESA EN MÉXICO A TRAVÉS DE INTERNET 1 INDICE Introducción CAPITULO I. JAPÓN, PAÍS DE CULTURAS EN CONTRASTE 1.1 La cultura japonesa tradicional 1.2 La cultura japonesa popular 1.3 Apertura de la cultura japonesa al mundo y para el mundo CAPÍTULO II. CULTURA POPULAR JAPONESA EN LA RED Y SU DIFUSIÓN EN SITIOS CREADOS EN MÉXICO 2.1 Organizaciones y asociaciones que promueven la relación entre México y Japón, y su participación en la red. 2.2 Anime y manga de fans para fans en internet. 2.3 Sitios especializados en J-music y su evolución en la radio por internet friki u otaku. 2.4 Cosplay, fotografía y arte digital; sitios de interés y expresión. 2.5 Revistas virtuales enfocadas a la cultura popular japonesa CAPITULO III. MÉXICO A LA JAPONESA: CONSUMO, MODA Y ENTRETENIMIENTO 3.1 Juventud mexicana a la moda nipona 3.2 Consumo y comercio creciente de artículos japoneses entre los jóvenes mexicanos 3.3 Convenciones y actividades enfocadas al conocimiento y goce de la cultura popular japonesa CAPÍTULO IV. JÓVENES OTAKU EN LAS REDES SOCIALES 4.1 Idioma y escritura japonesa en la red 4.2 Fansub y fandub como prácticas comunicativa Conclusiones 2 INTRODUCCIÓN Durante los últimos años, la influencia de la cultura popular japonesa ha sido determinante en el actuar y pensar de muchos jóvenes mexicanos. México, como país receptor de diversas culturas, abre sus puertas a nuevas tecnologías, industrias, modas, tendencias, formas de entretenimiento, alimentación, patrones culturales y sociales.
    [Show full text]
  • Otaku Mexicanos. El Análisis De La Cultura Participativa De Aficionados a Las Narrativas Transmediales Japonesas
    CENTRO DE CIENCIAS SOCIALES Y HUMANIDADES DOCTORADO EN ESTUDIOS SOCIOCULTURALES TESIS OTAKU MEXICANOS. EL ANÁLISIS DE LA CULTURA PARTICIPATIVA DE AFICIONADOS A LAS NARRATIVAS TRANSMEDIALES JAPONESAS QUE PRESENTA Rosario Barba González PARA OBTENER EL GRADO DE DOCTORA EN ESTUDIOS SOCIOCULTURALES TUTORA Dra. María Rebeca Padilla de la Torre COMITÉ TUTORIAL Dr. Salvador de León Vázquez Dr. Francisco Javier Cortázar Rodríguez Dr. Alejandro García Macías Dra. María Eugenia Patiño López Aguascalientes, Ags., mayo de 2017 Agradecimientos Agradezco al Consejo de Ciencia y Tecnología (Conacyt) por su apoyo y patrocinio para la realización de este trabajo de investigación. A todos quienes integran el Doctorado en Estudios Socioculturales a la Universidad Autónoma de Aguascalientes por el respaldo y las facilidades brindados para que la idea con la que me recibieron llegara a buen término. A la Dra. Rebeca por su dirección, paciencia y claridad. A los doctores de León y Cortázar por sus valiosas observaciones. Su guía hizo posible la profundización del fenómeno de los fans y su cultura participativa así como el crecimiento personal y profesional que se desprende del proceso. Así mismo a la Dra. Patiño y al Dr.García por la luz que brindaron desde ojos nuevos. A mi familia por su constante respaldo, sobre todo en los momentos de desesperación. A mis compañeros por los aprendizajes, descalabros y desahogos compartidos. A mis amigos por su paciencia y comprensión a lo largo de todo el proceso A mis Gabrieles, mi luz y mi calor Índice general Índice
    [Show full text]
  • Sakura-Con 2008 Schedule, March 21 Revision 1 of 12
    Sakura-Con 2008 schedule, March 21 revision 1 of 12 SAKURA-CON 2008 FRIDAY - SATURDAY, March 28th - 29th (2 of 4) FRIDAY - SATURDAY, March 28th - 29th (3 of 4) FRIDAY - SATURDAY, March 28th - 29th (4 of 4) Panels 5 Autographs Console Arcade Music Gaming Workshop 1 Workshop 2 Karaoke Main Anime Theater Classic Anime Theater Live-Action Theater Anime Music Video FUNimation Theater Omake Anime Theater Fansub Theater Miniatures Gaming Tabletop Gaming Roleplaying Gaming Collectible Card Youth Matsuri Convention Events Schedule, March 21 revision 3A 4B 615-617 Lvl 6 West Lobby Time 206 205 2A Time Time 4C-2 4C-1 4C-3 Theater: 4C-4 Time 3B 2B 310 304 305 Time 306 Gaming: 307-308 211 Time Closed Closed Closed Closed 7:00am Closed Closed Closed 7:00am 7:00am Closed Closed Closed Closed 7:00am Closed Closed Closed Closed Closed 7:00am Closed Closed Closed 7:00am 7:30am 7:30am 7:30am 7:30am 7:30am 7:30am Bold text in a heavy outlined box indicates revisions to the Pocket Programming Guide schedule. 8:00am Karaoke setup 8:00am 8:00am The Melancholy of Voltron 1-4 Train Man: Densha Otoko 8:00am Tenchi Muyo GXP 1-3 Shana 1-4 Kirarin Revolution 1-5 8:00am 8:00am 8:30am 8:30am 8:30am Haruhi Suzumiya 1-4 (SC-PG V, dub) (SC-PG D) 8:30am (SC-14 VSD, dub) (SC-PG V, dub) (SC-G) 8:30am 8:30am FRIDAY - SATURDAY, March 28th - 29th (1 of 4) (SC-PG SD, dub) 9:00am 9:00am 9:00am 9:00am (9:15) 9:00am 9:00am Karaoke AMV Showcase Fruits Basket 1-3 Pokémon Trading Figure Pirates of the Cursed Seas: Main Stage Turbo Stage Panels 1 Panels 2 Panels 3 Panels 4 Open Mic
    [Show full text]
  • Anglo Saxonica III N. 3
    REVISTA ANGLO SAXONICA SER. III N. 3 2012 A NNGLO SAXO ICA ANGLO SAXONICA SER. III N. 3 2012 DIRECÇÃO / GENERAL EDITORS Isabel Fernandes (ULICES) João Almeida Flor (ULICES) Mª Helena Paiva Correia (ULICES) COORDENAÇÃO / EXECUTIVE EDITOR Teresa Malafaia (ULICES) EDITOR ADJUNTO / ASSISTANT EDITOR Ana Raquel Lourenço Fernandes (ULICES) CO-EDITOR ADJUNTO / CO-EDITORIAL ASSISTANT Sara Paiva Henriques (ULICES) REVISÃO DE TEXTO / COPY EDITORS Inês Morais (ULICES) Madalena Palmeirim (ULICES) Ana Luísa Valdeira (ULICES) EDIÇÃO Centro de Estudos Anglísticos da Universidade de Lisboa DESIGN, PAGINAÇÃO E ARTE FINAL Inês Mateus IMPRESSÃO E ACABAMENTO Várzea da Rainha Impressores, S.A. - Óbidos, Portugal TIRAGEM 150 exemplares ISSN 0873-0628 DEPÓSITO LEGAL 86 102/95 PUBLICAÇÃO APOIADA PELA FUNDAÇÃO PARA A CIÊNCIA E A TECNOLOGIA New Directions in Translation Studies Special Issue of Anglo Saxonica 3.3 Guest Editors: Anthony Pym and Alexandra Assis Rosa Novos Rumos nos Estudos de Tradução Número Especial da Anglo Saxonica 3.3 Editores convidados: Anthony Pym e Alexandra Assis Rosa CONTENTS/ÍNDICE NEW DIRECTIONS IN TRANSLATION INTRODUCTION Anthony Pym and Alexandra Assis Rosa . 11 LITERARY TRANSLATION TRUSTING TRANSLATION João Ferreira Duarte . 17 ANTHOLOGIZING LATIN AMERICAN LITERATURE: SWEDISH TRANSLATIVE RE-IMAGININGS OF LATIN AMERICA 1954-1998 AND LINKS TO TRAVEL WRITING Cecilia Alvstad . 39 THE INTERSECTION OF TRANSLATION STUDIES AND ANTHOLOGY STUDIES Patricia Anne Odber de Baubeta . 69 JOSÉ PAULO PAES — A PIONEERING BRAZILIAN THEORETICIAN John Milton . 85 TRANSLATION AND LITERATURE AGAIN: RECENT APPROACHES TO AN OLD ISSUE Maria Eduarda Keating . 101 UNDER THE SIGN OF JANUS: REFLECTIONS ON AUTHORSHIP AS LIMINALITY IN . TRANSLATED LITERATURE Alexandra Lopes . 127 TRANSLATED AND NON-TRANSLATED SPANISH PICARESQUE NOVELS IN DEFENSE OF .
    [Show full text]
  • Una Aproximación a Los Estudios Sobre Los Otakus En Latinoamérica
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Revistas Científicas de la Universidad de Guadalajara Una aproximación a los estudios sobre los otakus en Latinoamérica Roberto García Núñez* y Dassaev García Huerta** ntroducción El grupo cultural denominado otakus ha sido una comunidad poco estudiada en Latino- américa desde el punto de vista científico, pues sólo se pueden encontrar escasos estudios Iserios, sobre todo en los últimos años, que analizan a este grupo desde diferentes disciplinas, a saber: la antropología, la sociología, la psicología y las ciencias de la comunicación, entre otras. Los trabajos encontrados y revisados fueron de autores latinoamericanos de cuatro paí- ses: Chile, Colombia, Venezuela y México, y son tesis de grado de licenciatura que se propusieron estudiar este fenómeno; una de antropología de Chile (Perillán 2009), otra de sociología de Venezuela (Balderrama y Pérez, 2009), una más de psicología de Colom- bia (Parada y Uribe 2010) y la última, de comunicación social y periodismo de Colombia (Arciniegas y Mora 2010); así como tres artículos publicados en revistas electrónicas por dos autores, un mexicano (Bogarín 2008 a y b) y una colombiana (Cobos, 2010). ¿Quiénes son los otakus? El término otaku se usa para designar a los fans (aficionados) del anime y/o la animación ja- ponesa, no importando si su afición sea una aficiónhobby ( ) o una obsesión. No obstante, a diferencia de lo que ocurre en Japón (de donde surgen), los otakus en el resto del mundo, in- cluyendo Latinoamérica, extienden su afición más allá delmanga (historietas japonesas) y el anime (dibujos animados nipones), adentrándose en la cultura japonesa misma, lo que incluye la música, el idioma, la gastronomía, la historia y costumbres de este lejano país.
    [Show full text]
  • Anime, Manga, Cosplay… ¿Y Algo Más? Políticas Culturales En Torno Del Otakismo
    104 MAP | REVISTA MUNDO ASIA PACÍFICO | Vol. 9, No. 17 ACTUALIDAD ASIA Anime, manga, cosplay… ¿y algo más? Políticas culturales en torno del otakismo S-F / Shutterstock.com Resumen Federico Álvarez Gandolfi El objetivo de este trabajo es reflexionar sobre el procesamiento de la Universidad de Buenos Aires diversidad constitutiva del fanatismo por las historietas y animaciones japo- [email protected] nesas, así como de los intereses y consumos de los otakus. Para ello, en el marco de las amplias discusiones que hacen a la comunicación y la cultura, se contemplarán en general diferentes propuestas de actividades vinculadas con este universo simbólico en la ciudad de Buenos Aires. De este modo, se pretende contribuir al desarrollo de una zona de indagación hasta el momen- to poco explorada y problematizada en el campo de estudios sobre manga y anime. En efecto, se plantea que el otakismo es un caso paradigmático para ilustrar y complejizar las tensiones contemporáneas en torno de la diversidad tanto mercantilizada como promocionada por el Estado, atendiendo al cues- tionamiento de todo reduccionismo exotizante. 105 MAP | REVISTA MUNDO ASIA PACÍFICO | Vol. 9, No. 17 Palabras clave: Otakus, cultura, exotización, Japón, diversidad, consumos. Abstract This article examines diverse fanatical devotion to Japanese comics and animation as well as otaku’s interests and consumption. To this end, within the context of broad discussions regarding communication and culture, we will examine different proposed activities related to this symbolic universe in Buenos Aires. In this way, we expect to contribute to a research area that, to date, has been scarcely explored and barely questioned in the field of study of manga and anime.
    [Show full text]
  • Sakura-Con 2009
    1 of 12 SAKURA-CON 2009 FRIDAY - SATURDAY, April 10th - 11th (2 of 4) FRIDAY - SATURDAY, April 10th - 11th (3 of 4) FRIDAY - SATURDAY, April 10th - 11th (4 of 4) Convention Events Schedule, April 9 revision Panels 5 Fan Workshop 1 Fan Workshop 2 Autographs Console Gaming Music Gaming Anime Theater 1 Anime Theater 2 FUNimation Theater Anime Music Video Classic Anime Theater Live-Action Theater Fansub Theater Karaoke Collectible Card Miniatures Gaming Tabletop Gaming Cosplay Photo 3AB 204 205 Time 4B 4C-3,4 4C-1 Time Time 611-612 615-617 618-620 Time Theater: 6A 604 613-614 310 2AB Time Gaming: 307-308 305 306 Gatherings (Location) Time Bold text in a heavy outlined box indicates revisions to the Pocket Programming Guide schedule. Also see corrections to the Cosplay Photo Gathering locations on p. 11. Closed Closed Closed 7:00am Closed Closed Closed 7:00am 7:00am Closed Closed Closed 7:00am Closed Closed Closed Closed Closed 7:00am Closed Closed Closed See p. 11 for the key 7:00am 7:30am 7:30am 7:30am 7:30am 7:30am to photo shoot locations. 7:30am FRIDAY - SATURDAY, April 10th - 11th (1 of 4) 8:00am 8:00am 8:00am Elemental Gelade 1-5 To Heart 1-4 Fate/stay night 1-3 8:00am Voltron 1-5 New Legend of Shaolin Haruka Nogizaka’s Secret Closed for setup 8:00am 8:00am Main Stage Arena Stage Panels 1 Panels 2 Panels 3 Panels 4 (SC-PG V, dub) (SC-PG D, sub) (SC-PG VS, dub) (SC-PG V, dub) (SC-14) 1-4 4A 6E 6C 608-609 606 607 8:30am 8:30am 8:30am 8:30am 8:30am 8:30am Time Time (SC-PG SD) Koichi Ohata Showcase: 9:00am Closed for setup Closed Closed
    [Show full text]
  • Of Otakus and Fansubs: a Critical Look at Anime Online in Light of Current Issues in Copyright Law*
    Of Otakus and Fansubs: A Critical Look at Anime Online in Light of Current Issues in Copyright law* Jordan S. Hatcher Research Associate, University of Edinburgh Email: [email protected] Abstract The advent of digital technology and increased global connectivity has, to put it mildly, caused some ripples for the entertainment industry specifically and copyright law generally. In the aftermath, many are searching for new ways to incorporate the benefits of digital copies and the internet while minimizing the harms. To some, the anime industry and its fans offer examples of how an industry can benefit and even grow from allowing copyright infringement. This article examines the anime industry in-depth with this suggestion in mind and places the industry among current copyright policy debates, such as those suggested by Lawrence Lessig. “Sailor Moon is like a gateway drug”1 - Janet Varela, referring to her daughter’s new obsession with anime “Too many otaku are just wanting fansubs for a cheap anime fix”2 - Rei-kun, member of fansubbers Kodocha Anime, describing digisubs 1. Introduction: Between Dojinshi and P2P The excesses of copyright law—from the legalities of peer-to-peer (p2p) networks to the intrusion of copyright law into the human body—have been a topic of great recent interest to both the legal world and the general public.3 Scholars, such as Lawrence Lessig, have been propelled into celebrity for their work discussing the perceived excess and illogic of certain aspects of modern copyright law.4 Under the term Free Culture, Lessig states that the re- working of culture—remix—is necessary to cultural growth, and that a healthy public domain * This work is licensed under a Creative Commons Attribution-NonCommercial 2.5 Scotland License.
    [Show full text]
  • El Fandom En La Juventud Española
    EL FANDOM EN LA JUVENTUD ESPAÑOLA 001-014 fandom en la juventud española PRESENTANCION.indd 1 24/05/19 08:13 EL FANDOM EN LA JUVENTUD ESPAÑOLA INVESTIGADOR PRINCIPAL: Daniel Cassany INVESTIGADORES: Cristina Aliagas Mariona Pascual Peñas Liudmila Shafirova María José Valero-Porras Boris Vazquez-Calvo Leticia-Tian Zhang COLABORADORES: Consuelo Allué José Miguel Ramudo 001-014 fandom en la juventud española PRESENTANCION.indd 2 24/05/19 08:13 Investigación inanciada a través de la convocatoria de Ayudas a la Investigación’ 2016, del CENTRO REINA SOFÍA SOBRE ADOLESCENCIA Y JUVENTUD, para ampliar el proyecto “ICUDEL. Identidades y Culturas Digitales en la Educación Lingüística”, del Programa Estatal de Investigación, Desarrollo e Innovación Orientada a los Retos de la Sociedad (EDU2014-57677-C2-1-R) del Ministerio de Economía y Competitividad, que llevó a cabo GRAEL (Grup de Recerca en Aprenentatge i Adquisició de Llengües), de la Universitat Pompeu Fabra (Barcelona). La convocatoria, de carácter anual, tiene como objetivo apoyar investigaciones sobre adolescencia y juventud desde cualquier perspectiva relacionada con las ciencias sociales. © FAD, 2018 Edita: Centro Reina Sofía sobre Adolescencia y Juventud Fundación de Ayuda contra la Drogadicción (FAD) Avda. de Burgos, 1 y 3 28036 Madrid Teléfono: 91 383 83 48 Fax: 91 302 69 79: Maquetación: Joaquín Hornero Muñoz ISBN: 978-84-17027-17-9 001-014 fandom en la juventud española PRESENTANCION.indd 3 24/05/19 08:13 001-014 fandom en la juventud española PRESENTANCION.indd 4 24/05/19 08:13 ÍNDICE Presentación .......................................................... 6 1. Jóvenes fans: per iles, actividad y comunidades......................... 15 2.
    [Show full text]