Japanese Popular Culture
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The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (Zhdk)
Global Pop Cultures. Moving Beyond the High–Low, East–West Divide Conference and Workshop Organized by Kyoto Seika University and Zurich University of the Arts (ZHdK) Hosted by Kyoto Seika University Shared Campus July 29 — 31, 2019 Global Pop Cultures sities from Europe and Asia (see below). We consider Pop culture is one of the most salient driving forces in close cooperation as imperative to tackle issues of glob- the globalization and innovation of cultures. Pop is also al significance. We are convinced that especially the arts a sphere where politics, identities, and social questions can, and indeed ought to, play an important role in this are negotiated. Rather than denoting only the culture respect. Shared Campus endeavours to create connec- for and of the masses, pop is characterized by the dia- tions that bring value to students, faculty and research- lectical interplay between mainstream and subculture, ers by developing and offering joint transnational educa- their respective milieus and markets. Today, the theory tion and research activities. These collaborative ventures and practice of pop is thoroughly globalized and will enable participants to share knowledge and compe- hybrid. Pop exists only in plural. Global pop cultures are tences across cultural and disciplinary boundaries. characterized by a high degree of variability, plasticity, The platform is designed around thematic clusters of and connectivity. A further reason for the growing com- international relevance with a distinctive focus on trans- plexity of global pop cultures is the fact that pop is no cultural issues and cross-disciplinary collaboration. longer only a DIY culture of amateurs. -
AN 362 JAPANESE POPULAR CULTURE IES Abroad Tokyo
AN 362 JAPANESE POPULAR CULTURE IES Abroad Tokyo DESCRIPTION: This course examines contemporary Japanese popular culture from historical, social, and anthropological perspectives. The course will examine very recent topics in an attempt to understand Japanese culture as it exists today. The scope of topics examined will be wide ranging, including folklore, anime, manga, advertising, cinema, music, food and politics. As this last year was the 70th anniversary of the end of the end of World War II and an important year of reflection in Japan, special emphasis will be given to war memory, militarism, and pacifism in Japan’s postwar popular culture. The objective of this course is to provide students with an academic understanding of Japanese popular culture & mass culture through the study of scholarly perspectives from the fields of anthropology, sociology, and media studies. CREDITS: 3 CONTACT HOURS: 45 LANGUAGE OF PRESENTATION: English PREREQUSITES: None METHOD OF PRESENTATION: Class sessions will consist of active group discussions and student presentations. Assignments for the course consist of weekly responses to each week’s class, short response papers about class field trips, a final paper, and a final presentation. REQUIRED WORK AND FORM OF ASSESSMENT: • Class Participation – 25% • Presentation (Mid-term Exam) - 20% • Weekly Responses - 25% • Research Paper & Presentation (Final Exam) - 30% Course Participation Students are expected to attend all class meetings. The first and most important assignment is to read and reflect on the readings and come to class prepared to talk about them. One missed class turns an A into an A-, two missed classes turns it into a B-, three turns it into a C-, and so on. -
Introduction to Japanese Popular Culture
Introduction to Japanese Popular Culture JAPA 360 – Fall 2019 Tuesday and Thursday, 4:30 - 5:45 Krug Hall 7 In the United States, there are dozens of yearly conventions celebrating Japanese popular culture, and the largest of these conventions can draw tens of thousands of attendees over the course of a single weekend. Hollywood has been fascinated by Japan for decades, and the aesthetics of Japanese illustration and animation have greatly influenced American artists, designers, and storytellers, many of whom grew up admiring Japanese cinema and televised cartoons. Japanese music and fashion have invaded American cultural institutions from MTV to Walmart, and the rapidly growing video game industry is dominated by Japanese intellectual property. In fact, certain cultural elements borrowed from Japan have become so naturalized within America that many people may not be aware of their Japanese origins. Behind the flash and glitter of the ephemera of Japanese popular culture lies a deep and fascinating history, as well as an intricate system of economic connections that support the production of media within Japan and its neighbors in East Asia. The purpose of this course is to study the cultural heritage of representative elements of Japanese media such as cinema, television, comics, music, and video games in order to better understand the entertainment industries that shape contemporary Japanese society and global mediascapes. We will begin in the early twentieth century and move through the Pacific War and its aftermath while reflecting on the role of popular culture in shaping political and national identities. We will then study anime and manga in an attempt to understand how characters and narratives are designed and marketed to appeal to different demographic audiences. -
Think About the Qualities That Make a Comic Book Superhero: Extra Ordinary Abilities and Powers. Courageous. Strong Moral Code
Think about the qualities that make a comic book superhero: Extra Ordinary Abilities and Powers. Courageous. Strong Moral Code. A Great Sense of Responsibility. Fighting Spirit. Mental Stability. These heroes are faced with many challenges but they fight to overcome them. But not all superheroes are works of fiction… In these strange and difficult times, we are seeing countless people in all areas of society stepping up to aid and support others - these people are REAL LIFE superheroes! Click the link below to design your own NHS superhero. You can even download and print the hero that you create! I’ve added mine as an example. https://www.heroized.com/ Art and Design - Superhero Logos/Costumes One of the most iconic things about a superhero is that they all have a unique logo usually found on their chest (or shield, belt buckle, car, helicopter, what have you), like the classic ones you see above and we know exactly who they are just by seeing this logo. Most logos are a symbol that represents the hero’s identity either by being linked to their name or their superpower. Have a look at some superhero logos online and why not even challenge yourself to play the quiz and see how many you can guess correctly (I got 65%!) Guess the superhero quiz: https://www.thequiz.com/the-biggest-nerd-cant-match- these-logos-to-their-superheroes-can-you/ Your challenge is to create a logo for a NEW superhero. You can use the superpower ideas below for inspiration OR just completely design your own hero’s superpower. -
The Evolution of Batman and His Audiences
Georgia State University ScholarWorks @ Georgia State University English Theses Department of English 12-2009 Static, Yet Fluctuating: The Evolution of Batman and His Audiences Perry Dupre Dantzler Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_theses Part of the English Language and Literature Commons Recommended Citation Dantzler, Perry Dupre, "Static, Yet Fluctuating: The Evolution of Batman and His Audiences." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/english_theses/73 This Thesis is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. STATIC, YET FLUCTUATING: THE EVOLUTION OF BATMAN AND HIS AUDIENCES by PERRY DUPRE DANTZLER Under the Direction of H. Calvin Thomas ABSTRACT The Batman media franchise (comics, movies, novels, television, and cartoons) is unique because no other form of written or visual texts has as many artists, audiences, and forms of expression. Understanding the various artists and audiences and what Batman means to them is to understand changing trends and thinking in American culture. The character of Batman has developed into a symbol with relevant characteristics that develop and evolve with each new story and new author. The Batman canon has become so large and contains so many different audiences that it has become a franchise that can morph to fit any group of viewers/readers. Our understanding of Batman and the many readings of him gives us insight into ourselves as a culture in our particular place in history. -
My Hero Academia and Durkheim: a Case Study of Blood and Hair As “Sacred” Objects in a Japanese Anime Television Series
doi: 10.17605/OSF.IO/P2RKD My Hero Academia and Durkheim: A Case Study of Blood and Hair as “Sacred” Objects in a Japanese Anime Television Series Dr. Ronald Lorenzo, Prairie View A & M University Abstract designated as sacred, and people regard the sacred with awe and respect. In religions, The Japanese anime television series My gods and spirits can be sacred, but also Hero Academia, originally airing in Japan as people, places, and things. Boku no Hīrō Akademia, revolves around Durkheim noted that two substances of superheroes and their superpowers. Often, the human body conferred universally with these superpowers are associated with the sacredness are hair and blood. Both blood and hair of the characters in the story. substances are associated with power. Thus, Characters increase their superpowers blood has been used in religious ceremonies through the consumption of blood or hair. as part of initiation rites or to mark a place Likewise, characters lose their superpowers or object as holy, even when blood is used through the loss of blood or hair. How these symbolically through the use of the color substances are linked to power, and how red, for example. Religious injunctions they are portrayed are not idiosyncratic, but against the consumption of blood are also a rather based on shared meanings across common feature across religions. Hair, too, cultures. A sociological, theoretical is a universally sacred human substance, framework for drawing meaning out of the also associated with power and respect. use of hair and blood in the story can help Societies establish rules for how hair must illuminate the meaning of these actions in be worn or handled. -
From the Japanese Traditional Edo Culture to Anime and Manga Takuji
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kwansei Gakuin University Repository 1 Kwansei Gakuin University Social Sciences Review Vol.19, 2014 Nishinomiya, Japan Roots of Cool Japan: From the Japanese Traditional Edo Culture to Anime and Manga Takuji OKUNO Japan’s transition from making things to making tales Japanese popular culture, known as “Cool Japan,” includes animations, comics, video games, figures, and J-pops that are highly acclaimed in Europe and the United States as well as throughout Asia. From the 1970s to the 1980s, Japan gained confidence in its ability to “make things” because consumers around the world embraced its manufactured products such as electric home appliances and automobiles with open arms in preference to the products of other advanced countries. However, at the beginning of the Heisei era, the bubble in the Japanese economy suddenly burst and Japan’s gross national product (GNP) plummeted, resulting in what is termed “the burst of economic bubble of 1990.” Relatively cheaper manufactured products from other Asian countries gained precedence over Japanese products. In response, many Japanese manufacturers moved their production plants to other Asian countries, particularly settling in mainland China, where labor costs were lower than in Japan. The recession was protracted and the Japanese people suffered from a sense low confidence in their abilities to overcome the recession. By the late 1990s, Prime Ministers Mori and, subsequently, Koizumi responded to Japanese political leader Heizo Takenaka’s advocacy of an information technology (IT) revolution in Japan as a way to beat the recession. -
Superpower, What Would It Be and Why? the Shapeshifter S.A
Mrs. Allen’s 2016-2017 5th Grade Writers Expository Essay Writing If you could choose one superpower, what would it be and why? The Shapeshifter S.A. By Karleigh Adair Shapeshifting would be my superpower. Some of my favorite heroes have that superpower. Some of the reasons I want this power is that you can shapeshift into anything, you can change into a person with other superpowers, and you can prank people. Though, you also might have lots of weaknesses that people can exploit. Super Speed By: Sarah Alhashimi If I were to have a superhuman skill, it would be su per speed. It would be pretty cool. This amazing power would help me quickly finish my chores. I no longer will ever feel the panic of being in a hurry. The horrific timeconsuming shopping experience with my mom will never happen because I can help her in a flash. These are the reasons why super speed is the one super I would choose if I had the choice. Playing with my little brother, watching YouTube, and eating food are my favorite pastimes that I would have more time for if I had the ability to use my super speed to finish chores. Every kid that I know must do chores! Dishes. Vacuuming. Dusting. Ewwwww! Cleaning the nasty, smelly, poopy disgusting bathroom. No longer will my nose or eyes, even hands, ever have to succumb to the horrid experience of having to do these chores. When my mom tells me I’ve got chores to finish, I can absolutely use my super speed to make my bed, clean my room, mop the floor, clean the kitchen, and straighten out the living room at the speed of light. -
Popular Culture of Japanese Anime in the Digital Age and the Impact on Nationalism of Young Indonesian Citizens
IJSS.Vol.14, No.1, September 2018 POPULAR CULTURE OF JAPANESE ANIME IN THE DIGITAL AGE AND THE IMPACT ON NATIONALISM OF YOUNG INDONESIAN CITIZENS Wisnu Hatami4 Abstract This research explores the impact of Japanese popular culture in digital era to Indonesia’s young citizen nationalism. Globalization make a life easier, include how to get information. With the digital era, people could get information in another country very fast and the research between globalization and nasionalism growing. This paper based on research of phenomenology about Anime’s Japanese popular culture of Association of Highschool Nihon No Kurabu in Bandung. The amount of informants is twelve and the data collected through interview, observation and documentation study. The result of the research showed that anime’s Japanese popular culture interested informants with the value, character, visual and storyline in that anime. Then, the informants would study about another Japanese popular culture than Indonesia’s traditional cultures. Keywords: Japanese popular culture; anime; nationalism; young citizen 4Yogyakarta State University 37 Wisnu Hatami: Popular Culture of Japanese Anime Introduction culture of Indonesia. One culture that is The spirit of nationalism of young currently favored by young citizens is citizens today is doubtful. Young citizens, Japanese popular culture. especially students seem to be trapped in the With the ease of accessing various Japanese life of his youth and forget his responsibilities anime it is feared there will be a shift of values as the next generation of nation and state. In received by young citizens or teenagers who fact, as a young citizen it is fitting to prepare still do not have a strong identity due to the themselves to be citizens who have the ability embedded values in the Japanese anime civic knowledge, civic skill, and civic storyline. -
ILA/CBC Children's Choices Reading List 2020
CHILDREN’S CHOICES 2020 Reading List What Is the Children’s Choices Reading List? ach year, 12,500 school children from different regions of the United States read newly published children’s trade books and vote for the ones they like best. These EChildren’s Choices, selected from more than 900 titles, can be counted on as books children really enjoy reading. This list, a project cosponsored by the International Literacy Association (ILA) and the Children’s Book Council (CBC), is designed for use not only by educators, librarians and media specialists, administrators, and booksellers but also by families and caregivers and everyone who wishes to encourage young people to read for pleasure. Beginning Readers (Grades K–2, Ages 5–8) The Babysitter From Another Planet The Babysitter From Another Stephen Savage. Holiday House/Neal Porter Books. Planet. Stephen Savage. When their parents head out to the movies and the babysitter arrives, the children say, “She took some getting used to.” Fun, colorful illustrations take over from that point, delighting readers with an out- of-this-world babysitter experience. Bear Came Along Richard T. Morris. Ill. LeUyen Pham. Little, Brown Books for Young Readers. The river was flowing quietly along until Bear pushes a tree over and falls in. Froggy soon joins Bear on his log, the Turtles come next, and pretty soon many animals have joined Bear on an adventure down the river. With engaging text and beautiful illustrations, this Bear Came Along. Richard T. Morris. book demonstrates how each member of the party can be a valued Ill. -
The Science of SUPERPOWERS
Jennifer Kroll Jennifer The Science of SUPERPOWERS The Science of Superpowers Kroll For inspection teachers' ONLY Table of Contents Superheroes and Science . 4 Mad Scientists and Mighty Mutants . 6 The Science of Super Strength . 12 Superpowers: From Fiction to Fact . 24 A Real Life Spider-Man . 38 Up, Up, and Away! . .48 Where Fantasy Meets Fact . 56 Glossary . .58 Index . 60 Check It Out! . 62 Try It! . .63 About the Author . 64 3 For inspection teachers' Superheroes and Science Superheroes have thrilled readers forONLY decades. The first superhero comics appeared in print before the start of World War II. Today, graphic novels about superheroes still fly off library shelves. Kids, teens, and adults flock to theaters to watch these heroes save the day. Spider‑Man! Batman! Avengers! We can’t seem to get enough of superhero stories. And it’s no wonder. These fun fictions are chock‑full of action, suspense, good, evil, and … science? Elements of a Superhero Superhero storywriters like to make up imaginary metals and other elements. The Marvel® character Wolverine has claws and bones that are coated with “adamantium.” Wonder Woman’s bracelets are made from “amazonium.” Captain America’s shield is made with “vibranium.” 4 For inspection teachers' A Form of Sci-Fi Superheroes and science? Sure! With gamma rays, black holes, and mutants, superhero stories are full of ideasONLY borrowed from science. These stories imagine what the technology of the future may be like. Story characters own and use amazing vehicles, weapons, and gadgets. They travel through space and time. With so many science and technology elements, superhero fiction is really a form of science fiction.