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Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation
Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Tuomas Sibakov Master’s Thesis East Asian Studies Faculty of Humanities University of Helsinki November 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Faculty of Humanities East Asian Studies Opintosuunta – Studieinriktning – Study Track East Asian Studies Tekijä – Författare – Author Tuomas Valtteri Sibakov Työn nimi – Arbetets titel – Title Imōto-Moe: Sexualized Relationships Between Brothers and Sisters in Japanese Animation Työn laji – Arbetets art – Level Aika – Datum – Month and Sivumäärä– Sidoantal – Number of pages Master’s Thesis year 83 November 2020 Tiivistelmä – Referat – Abstract In this work I examine how imōto-moe, a recent trend in Japanese animation and manga in which incestual connotations and relationships between brothers and sisters is shown, contributes to the sexualization of girls in the Japanese society. This is done by analysing four different series from 2010s, in which incest is a major theme. The analysis is done using visual analysis. The study concludes that although the series can show sexualization of drawn underage girls, reading the works as if they would posit either real or fictional little sisters as sexual targets. Instead, the analysis suggests that following the narrative, the works should be read as fictional underage girls expressing a pure feelings and sexuality, unspoiled by adult corruption. To understand moe, it is necessary to understand the history of Japanese animation. Much of the genres, themes and styles in manga and anime are due to Tezuka Osamu, the “god of manga” and “god of animation”. From the 1950s, Tezuka was influenced by Disney and other western animators at the time. -
The Origins of the Magical Girl Genre Note: This First Chapter Is an Almost
The origins of the magical girl genre Note: this first chapter is an almost verbatim copy of the excellent introduction from the BESM: Sailor Moon Role-Playing Game and Resource Book by Mark C. MacKinnon et al. I took the liberty of changing a few names according to official translations and contemporary transliterations. It focuses on the traditional magical girls “for girls”, and ignores very very early works like Go Nagai's Cutie Honey, which essentially created a market more oriented towards the male audience; we shall deal with such things in the next chapter. Once upon a time, an American live-action sitcom called Bewitched, came to the Land of the Rising Sun... The magical girl genre has a rather long and important history in Japan. The magical girls of manga and Japanese animation (or anime) are a rather unique group of characters. They defy easy classification, and yet contain elements from many of the best loved fairy tales and children's stories throughout the world. Many countries have imported these stories for their children to enjoy (most notably France, Italy and Spain) but the traditional format of this particular genre of manga and anime still remains mostly unknown to much of the English-speaking world. The very first magical girl seen on television was created about fifty years ago. Mahoutsukai Sally (or “Sally the Witch”) began airing on Japanese television in 1966, in black and white. The first season of the show proved to be so popular that it was renewed for a second year, moving into the era of color television in 1967. -
The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子. -
Theorizing Comics/Manga Genre As a Productive Forum: Yaoi and Beyond
Mizoguchi Akiko 10 Theorizing comics/manga genre as a productive forum: yaoi and beyond MIZOGUCHI Akiko It’s not a “hobby”! To me, reading manga is a synonym for “living”! (Miura 2006: 13) It’s about being able to see how the other person’s brain and her desire work. We both develop fantasies based on just a little bit of information we gain from observation. We’d say to each other something like, gee, your antennae are way too sensitive! It’s a pleasure to observe each other. The only word that can describe what lies between such buddies and myself is “love”, I think. (Miura 2007: 3) The yaoi genre consists of male-male romance manga (narrative comics) and illustrated novels created by women for women. Its history spans 40 or 50 years, depending on whether we locate its origin at the “beautiful boy” manga within the shōjo manga genre of the 1970s, or at Mori Mari’s 1961 novel, Koibitotachi no mori [The Lovers’ Woods]. While it is beyond the scope of this paper to survey this history,1 it is significant to note that today in early 2010 the wider yaoi genre mainly consists of the commercial “boys’ love” genre, also called BL (pronounced bii eru, and hereafter written BL), and the fanzines, or dōjinshi. The commercial BL publications have been central in the 1 For a survey of the history of the larger yaoi genre, see Mizoguchi (2003 a, b). 143 © International Manga Research Center, Kyoto Seika University. ISBN 978-4-905187-01-1 http://imrc.jp/ Mizoguchi Akiko larger yaoi genre since 1991.2 The first era of BL publications was largely defined by June (pronounced “juné,” close to the Japanized pronunciation of “Genet”) because this magazine led the larger yaoi genre as the only commercial publication during the 1980s until it was discontinued in 2004. -
Aniplex Books R.O.D -THE COMPLETE- Blu-Ray BOX for Distribution This Winter Through Bandai and Right Stuf
FOR IMMEDIATE RELEASE October 7th, 2010 Aniplex books R.O.D -THE COMPLETE- Blu-ray BOX for distribution this winter through Bandai and Right Stuf © 2001, 2002 Studio Orphee / Aniplex © Studio Orphee / Aniplex SANTA MONICA, CA (October 7, 2010) – Aniplex of America Inc. announced today that R.O.D READ OR DIE -THE COMPLETE- Blu-ray BOX—recently licensed for distribution in North America—will be released January 18th, 2011 through Bandai Entertainment, Inc.’s ―The Store‖ online retail shop and RightStuf.com. In addition, both companies have signed on to distribute Aniplex’s Durarara!! DVDs. Previously released on standard DVD format in North America, both R.O.D -READ OR DIE- OVA series and R.O.D -THE TV- have garnered critical acclaim and a groundswell of support from many anime enthusiasts over the years. Now, with the gradual consumer shift over to high definition Blu-ray players and matching video software, R.O.D -THE COMPLETE- Blu-ray BOX becomes Aniplex’s first official BD release in North America. “…perfect anime fun.” – AintItCool.com “A well put together show that grows better with each episode.” – DVDTalk.com “…R.O.D the TV does not disappoint. This is an action series with intelligence and wit…” – DVDVerdict.com “Mania Grade: A+ R.O.D is a series that has great replay value once it’s finished since it makes you go back to the OVA release and then soak it all in again to see all the little bits that you missed the first time around.” – Chris Beveridge / Mania.com R.O.D -THE COMPLETE- Blu-ray Box includes: ALL 29 episodes on 5 discs: -
The Dissemination and Localization of Anime in China: Case Study on the Chinese Mobile Video Game Onmyoji
The dissemination and localization of anime in China: Case study on the Chinese mobile video game Onmyoji Wuqian Qian The Department of Asian, Middle Eastern and Turkish Studies Master Program in Asian Studies, 120 hp Autumn term 2016 Supervisor: Jaqueline Berndt English title: Professor Abstract In the 2017 Chinese Gaming Industry Report, a new type of video games called 二次 元 game is noted as a growing force in the game industry. Onmyoji is one of those games produced by Netease and highly popular with over 200 million registered players in China alone. 二次元 games are characterized by Japanese-language dubbing and anime style in character design. However, Onmyoji uses also Japanese folklore, which raises two questions: one is why Netease chose to make such a 二次元 game, the other why a Chinese game using Japanese folklore is so popular among Chinese players. The attractiveness of an exotic culture may help to explain the latter, but it does not work for the first. Thus, this thesis implements a media studies perspective in order to substantiate its hypothesis that it is the dissemination of anime in China that has made Onmyoji possible and successful. Unlike critics who regard anime as an imported product from Japan which is different from domestic Chinese animation and impairs its development, this study pays attention to the interrelation between media platforms and viewer (or user) demographics, and it explores the positive influence of Japanese anime on the Chinese creative industry, implying the feasibility of anime or 二次元 products to be created in other countries than Japan. -
The Problematic Internationalization Strategy of the Japanese Manga
By Ching-Heng Melody Tu Configuring Appropriate Support: The Problematic Internationalization Strategy of the Japanese Manga and Anime Industry Global Markets, Local Creativities Master’s Program at Erasmus University Rotterdam Erasmus University Rotterdam 2019/7/10 Table of Contents Chapter 1. Introduction ............................................................................................. 4 1.1 Purpose .................................................................................................. 6 1.2 Research Question ................................................................................. 7 1.3 Conceptual Framework ........................................................................ 10 1.4 The Research Method .......................................................................... 12 1.5 Research Scope and Limitation of the Study ......................................... 13 1.5.1 Research Scope ............................................................................... 13 1.5.2 Limitations of the Study .................................................................. 14 1.6 Definition of Terms .............................................................................. 15 1.6.1 Manga ............................................................................................. 15 1.6.2 Anime.............................................................................................. 15 1.6.3 Fansub ............................................................................................ 16 1.7 -
Sean Leonard4
MIT Japan Program Working Paper 04.02 Progress Against the Law: Fan Distribution, Copyright, and the Explosive Growth of Japanese Animation Sean Leonard Massachusetts Institute of Technology Abstract The medium of Japanese animation is a powerhouse in the world of alternative entertainment. Proselytization by fans ignited the anime movement in America, despite Japanese copyright holders’ abandonment of the American market. The author presents an historical and legal analysis to demonstrate that, at least in one case spanning two decades, fans’ continual infringement of copyright spurred the progress of commerce and the arts. 1 MIT Japan Program Working Paper Series 04.02 Center for International Studies Massachusetts Institute of Technology Room E38-7th Floor Cambridge, MA 02139 Phone: 617-252-1483 Fax: 617-258-7432 Date of Publication: November 2, 2004 © Sean Leonard 2 Table of Contents 1. Introduction 7 2. Anime and Its Fandom: A Primer for Non-Fans 9 2.1. Anime 9 2.2. Fan Distribution 10 2.3. Fansub 10 3. Historical Analysis of Fan Distribution and Subtitling 12 3.1. Pre-Fan Period 12 3.2. Technology Change; Cartoon/Fantasy Organization 13 3.3. Japanese Enter and Abandon the Market 16 3.4. Fan Activity Increases 19 3.5. Anime Importers Fail to Release Quality Material 23 3.5.1. The Robotech Exception and the Second Wave 25 3.6. C/FO at Its Height; C/FO in Japan 27 3.7. C/FO Fan Distribution 29 3.7.1. Fan Networks as Proselytization Commons 32 3.8. Birth of Fansubbing; Collapse of C/FO 33 3.9. -
Facet Analysis of Anime Genres
484 Knowl. Org. 45(2018)No.6 H. Cho, T. Disher, W.-C. Lee, S. A. Keating, J. H. Lee. Facet Analysis of Anime Genres Facet Analysis of Anime Genres: The Challenges of Defining Genre Information for Popular Cultural Objects Hyerim Cho*, Thomas Disher**, Wan-Chen Lee***, Stephen A. Keating**** and Jin Ha Lee***** University of Washington, Information School, Mary Gates Hall 330y Gamer Lab, 1851 NE Grant Ln., Seattle, WA 98105, USA, *<[email protected]>, **<[email protected]>, ***<[email protected]>, ****<[email protected]>, *****<[email protected]> Hyerim Cho is a PhD candidate in information science at the University of Washing- ton, Information School. She holds a BA in English literature (2010) and library and information science (2010) and an MA in library and information science (2012) from Ewha Womans University, South Korea. Her research interests include diverse types of multimedia information, such as anime, comic books, games, and more. The main goal of her research is to understand the users of multimedia information and their information needs to improve the current organization and retrieval systems. Thomas Disher is a writer and stay-at-home-father. He holds a BA in English: creative writing, with a linguistics minor from Seattle Pacific University and a MLIS from the University of Washington. Since earning his MLIS he has assisted Jin Ha Lee and the GAMER group with some of their research at the University of Washington. His re- search interests include metadata, classification systems, video games, anime, folklore, and linguistics. He also writes poetry and fiction. Wan-Chen Lee is a PhD candidate at the Information School of the University of Washington, where she received her MLIS degree in 2014. -
The Great Mirror of Fandom: Reflections of (And On) Otaku and Fujoshi in Anime and Manga
THE GREAT MIRROR OF FANDOM: REFLECTIONS OF (AND ON) OTAKU AND FUJOSHI IN ANIME AND MANGA by CLARISSA GRAFFEO B.A. University of Central Florida, 2006 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Spring Term 2014 © 2014 Clarissa Graffeo ii ABSTRACT The focus of this thesis is to examine representations of otaku and fujoshi (i.e., dedicated fans of pop culture) in Japanese anime and manga from 1991 until the present. I analyze how these fictional images of fans participate in larger mass media and academic discourses about otaku and fujoshi, and how even self-produced reflections of fan identity are defined by the combination of larger normative discourses and market demands. Although many scholars have addressed fan practices and identities through surveys and participant observation, many of these studies work with Western groups of fans whose identities may not be consistent with those of Japanese otaku and fujoshi, and fewer studies have addressed the way these fans are reflected in the very media (anime and manga) they consume. I examine both negative and positive depictions of otaku and fujoshi, as well as the representations of fan gender identities and sexualities, across a broad range of anime and manga, including Rusanchiman (Ressentiment), Genshiken, N.H.K. ni Yōkoso (Welcome to the N.H.K.), Otaku no Video, Kuragehime (Princess Jellyfish), Oreimo, and Mōsō Shōjo Otakukei (Fujoshi Rumi). The varied depictions of otaku and fujoshi in these works illustrate the tension between otaku and fujoshi identities and normative social roles, the problematic elements of identities defined through consumerism, and the complexities of the interaction between fans’ fictionalized and lived desires. -
Emerald Jd Jd611487 918..935
The current issue and full text archive of this journal is available on Emerald Insight at: www.emeraldinsight.com/0022-0418.htm JD ’ 74,5 Analyzing anime users online forum queries for recommendation using 918 content analysis Received 18 August 2017 Hyerim Cho, Marc L. Schmalz, Stephen A. Keating and Jin Ha Lee Revised 19 March 2018 Accepted 3 May 2018 Information School, University of Washington, Seattle, Washington, USA Abstract Purpose – The purpose of this paper is to improve the understanding of relevant information features for users seeking anime recommendations. Design/methodology/approach – The study uses content analysis of 396 recommendation request threads from the online forum at Anime News Network. Findings – In total, 19 important anime information features were identified, including Work, Theme, Genre, Audience, Mood, while Artwork/Visual Style, Audio Style, and Language were mentioned less frequently. However, when mentioned, these codes were discussed with specificity and depth. Research limitations/implications – This study analyzed a relatively small number of 396 forum records, without demographic information. Using content analysis of online forum threads written by real users provided both informational breadth and depth. Future studies would benefit from using content analysis to investigate unfamiliar multimedia information and user groups. Practical implications – The findings of this study can be implemented in anime-related databases and information systems to enhance organization, browsing/retrieval, and recommendation of anime, which can be further utilized for other audiovisual materials. Originality/value – This is one of the few studies that investigate what anime users need and want. This research examines an understudied cultural medium, underserved by current research, despite an expanding community of anime users. -
Exotic Geeks Problematizing Japanese and Western Anime Otaku
Göteborg University Advanced Level Department of Culture, Aesthetics and Media Autumn 2006 Film Studies Advisor: Therése Andersson Exotic Geeks Problematizing Japanese and Western Anime Otaku Advanced Essay (Level C) Presented in January 2007 by Viktor Eikman Abstract Title: Exotic Geeks: Problematizing Japanese and Western Anime Otaku Author: Viktor Eikman Institution: Department of Culture, Aesthetics and Media, at Göteborg University Advisor: Therése Andersson Course: FV4100: Film Studies, Advanced Level Presented: Autumn semester 2006 Abstract: Exotic Geeks critically examines the history of the word “otaku”, used to denote various ideas related to geeky fans, from the early 1980s to the present day. The aim is to provide a foundation for future use of the term to describe concepts in aid of understanding film culture. However, most uses of the word to describe Japanese geeks have been tinted by orientalism, by general tendencies to pathologize fans, and by the historical coincidence that the word was first popularized in a media panic over a series of murders. Westerners have generally conceived of “otaku” through the lens of that Japanese panic, exoticizing them as alien super-geeks, or else appropriating the term to celebrate or condemn Western fans of Japanese exports, particularly anime (Japanese animation). Several other mutually contradictory definitions are also dealt with, especially Murakami Takashi's idea that “otaku” are those who carried the torch in sublimating the memory of the Second World War and the contradictions of Japan's long postwar humiliation as art. Murakami's theory is tested through close reading of three anime titles: Royal Space Force: The Wings of Honneamise (1987), Gunbuster (1988) and Otaku no Video (1991).