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The Anime Galaxy Japanese Animation As New Media
i i i i i i i i i i i i i i i i i i i i Herlander Elias The Anime Galaxy Japanese Animation As New Media LabCom Books 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-090-6 Título: The Anime Galaxy Autor: Herlander Elias Ano: 2012 i i i i i i i i Índice ABSTRACT & KEYWORDS3 INTRODUCTION5 Objectives............................... 15 Research Methodologies....................... 17 Materials............................... 18 Most Relevant Artworks....................... 19 Research Hypothesis......................... 26 Expected Results........................... 26 Theoretical Background........................ 27 Authors and Concepts...................... 27 Topics.............................. 39 Common Approaches...................... 41 1 FROM LITERARY TO CINEMATIC 45 1.1 MANGA COMICS....................... 52 1.1.1 Origin.......................... 52 1.1.2 Visual Style....................... 57 1.1.3 The Manga Reader................... 61 1.2 ANIME FILM.......................... 65 1.2.1 The History of Anime................. 65 1.2.2 Technique and Aesthetic................ 69 1.2.3 Anime Viewers..................... 75 1.3 DIGITAL MANGA....................... 82 1.3.1 Participation, Subjectivity And Transport....... 82 i i i i i i i i i 1.3.2 Digital Graphic Novel: The Manga And Anime Con- vergence........................ 86 1.4 ANIME VIDEOGAMES.................... 90 1.4.1 Prolongament...................... 90 1.4.2 An Audience of Control................ 104 1.4.3 The Videogame-Film Symbiosis............ 106 1.5 COMMERCIALS AND VIDEOCLIPS............ 111 1.5.1 Advertisements Reconfigured............. 111 1.5.2 Anime Music Video And MTV Asia......... -
The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney Jennifer M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2009 The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney Jennifer M. Stockins University of Wollongong Recommended Citation Stockins, Jennifer M., The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney, Master of Arts - Research thesis, University of Wollongong. School of Art and Design, University of Wollongong, 2009. http://ro.uow.edu.au/ theses/3164 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney A thesis submitted in partial fulfillment of the requirements for the award of the degree Master of Arts - Research (MA-Res) UNIVERSITY OF WOLLONGONG Jennifer M. Stockins, BCA (Hons) Faculty of Creative Arts, School of Art and Design 2009 ii Stockins Statement of Declaration I certify that this thesis has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Jennifer M. Stockins iii Stockins Abstract Manga (Japanese comic books), Anime (Japanese animation) and Superflat (the contemporary art by movement created Takashi Murakami) all share a common ancestry in the woodblock prints of the Edo period, which were once mass-produced as a form of entertainment. -
Meta-Con-2014-FINAL.Pdf
Convention Operations and Answers General Rules Weapon and Large Prop Rules Our convention has a number of rules, policies, and regulations All weapons and large props must be inspected and approved by our that help make the convention run smoothly and be as fun as operations or security staff at the convention. We will then “peace mark” possible for everyone. We encourage you to read our rules to un- them, by affixing a ribbon or mark that indicates we have checked them, and, if necessary “peace bond” them by using ribbon or ties to keep derstand what is expected to help make the best, most success- your weapon from being drawn or used (for example, by someone who ful, and most fun weekend possible. In addition to these general doesn’t know the rules and sneaks up behind you and grabs it). Attend- conduct policies, we also have rules and guidelines for cosplay, ees must realize that it is a privilege to bring large props and weapons press, exhibitors, and others. Violations of these rules and respon- to the convention, and everyone must take great care to be careful not sibilities can result in loss of privileges, up to and including ejec- to damage things, whack people, or otherwise do anything that seems tion without refund, legal action, or involvement of the authorities. dangerous. We allow certain specific prop weapons and large prop items, but anything not listed below is not allowed. Please understand that due Rule Number One: Do not do anything that could make the to crowding, space, or safety issues, we may have to change the rules mid-convention at any time. -
Cambridge University Press 978-1-108-72474-6 — an Introduction to Japanese Society Yoshio Sugimoto Index More Information
Cambridge University Press 978-1-108-72474-6 — An Introduction to Japanese Society Yoshio Sugimoto Index More Information Index Abe, Shinz¯o,236, 303, 312 alternative culture, 285 abilities, of employees, 116–17 characteristics, 287 abortion, 186–8 communes and the natural economy, 299–300 academic world system, 52–3 Cool Japan as, 311 achieved status, 73–4, 81 countercultural events and performances, 298–9 Act on Land and Building Leases (1991), 122 historical examples, 297 Act on Promotion of Women’s Participation local resident–volunteer support movements as, and Advancement in the Workplace (2016), 325 182 mini-communication media and online papers, activism, see resident movements; social 297–8 movements nature of, 297 administrative guidance (gyosei¯ shido¯), 232, 235–6, social formations producing, 286 338 amae (active dependency), 29, 43, 51 administrative systems amakudari (descending from heaven), 232–5, 251 during Heian period, 9 Amaterasu Ōmikami, 6–7, 267 during Kamakura period, 10 ambiguity, manipulation of, 337–8 during Yamato period, 7 Ame no Uzume, 6 adoption, 196 Ampo struggle, 318, 321 AEON, 110 ancestor worship, 266, 281, 295 aging society, 47–8 animators, working conditions, 307 declining birth rate and, 86–7 anime, 27–8, 46–7, 302, 311 life expectancy in, 84–6 animism, 203, 266–7 rise in volunteering and, 323 annual leave, 120 woman’s role as caregiver in, 181 anomie (normlessness), 48 Agon-shu¯ (Agon sect), 273 anti-development protests, 324–5 agricultural cooperatives, 326 anti-nuclear demonstrations, 92, 317–21 -
Japanese Animation and Glocalization of Sociology1 Kiyomitsu YUI Kobe University
44 SOCIOLOGISK FORSKNING 2010 Japanese Animation and Glocalization of Sociology1 Kiyomitsu YUI Kobe University Globalization of Japanese Comics and Animations Barcelona, Innsbruck, Seoul, Paris, Durban (South Africa), Beijing, Cairo, Krakow, Trento…, these are the cities where I have delivered my talks about Japanese anima- tion (Anime) and comics (Manga). Especially through the enthusiasm of the young audience of the classes which had nothing to do with whether my presentation was good or not, I have been impressed by the actuality of globalization. There are at least three reasons to pick Japanese animation and Manga up in so- ciology as its subject matter. First, pluralization of centers (“origins of dispatch”) of globalization. Second, globalization of culture and consciousness. Third, relationship between post-modern social settings and sub-cultures (cultural production). Talking first about the second point, globalization of culture: “Characters” in Manga and Anime can be considered as a sort of “icons” in the sense suggested by J. Alexander (Alexander, 2008:a, 2008:b). Icons are “condensed” symbols in the Freudian meaning (Alexander 2008:782). According to T. Parsons (alas, in the good old days we used to have “main stream” so to speak, and nowadays we have the cliché that goes “contrary to Parsons I argue…,” instead of “according to Parsons”), there are three aspects in culture as a symbolic system: cognitive, affective-expressive, and evaluative orientations. In Parsons’ age, globalization was not such a significant issue in sociology as in the present. Now we can set the new question: which aspect of a cultural symbol can be most feasible to be globalized, to be able to travel easily in the world? It would be unthinkable or at least very difficult to imagine a situation in which we would share the evaluative aspect such as a religious, moral or ideological orientation globally. -
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. -
A Galáxia De Anime Como ``New Media''
i i i i i i i i i i i i i i i i i i i i Herlander Elias A Galáxia de Anime A Animação Japonesa como New Media Livros LabCom 2012 i i i i i i i i Livros LabCom www.livroslabcom.ubi.pt Série: Estudos em Comunicação Direcção: António Fidalgo Design da Capa: Herlander Elias Paginação: Filomena Matos Covilhã, UBI, LabCom, Livros LabCom 2012 ISBN: 978-989-654-088-3 Título: A Galáxia de Anime: A Animação Japonesa como New Media Autor: Herlander Elias [http://www.herlanderelias.net] Ano: 2012 i i i i i i i i Índice RESUMO & PALAVRAS-CHAVE3 INTRODUÇÃO5 Objectivos............................... 15 Metodologias de Investigação..................... 17 Materiais............................... 18 As Obras Mais Importantes...................... 19 Hipóteses de Pesquisa......................... 26 Resultados Esperados......................... 26 Enquadramento Teórico........................ 27 Autores e Conceitos....................... 27 Temas.............................. 39 Abordagens Comuns...................... 42 1 DO LITERÁRIO AO CINEMÁTICO 45 1.1 A BANDA DESENHADA MANGA.............. 52 1.1.1 A Origem........................ 52 1.1.2 O Estilo Visual..................... 58 1.1.3 O Leitor de Manga................... 62 1.2 O FILME DE ANIME..................... 66 1.2.1 História da Anime................... 66 1.2.2 Estética e Técnica................... 71 1.2.3 Os Espectadores de Anime............... 77 1.3 MANGA DIGITAL....................... 85 1.3.1 Participação, Subjectividade e Transporte....... 85 i i i i i i i i i 1.3.2 Digital Graphic Novel: A Convergência de Manga e Anime.......................... 88 1.4 VIDEOJOGOS DE ANIME.................. 92 1.4.1 O Prolongamento.................... 92 1.4.2 O Público do Controlo................. 107 1.4.3 A Simbiose Videojogo-Filme............ -
1 the Cool Japan Project and the Globalization of Anime
THE COOL JAPAN PROJECT AND THE GLOBALIZATION OF ANIME AND MANGA IN THE UNITED STATES by Joshua Michael Draper Honors Thesis Appalachian State University Submitted to the Department of Cultural, Gender, and Global Studies and The Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts May, 2015 Approved by: Wei Xie, Ph.D., Thesis Director Alexandra Sterling-Hellenbrand, Ph.D., Second Reader Jeanne Dubino, Ph.D., Department Honors Director Leslie Sargent Jones, Ph.D., Director, The Honors College 1 The Cool Japan Project and the Globalization of Anime and Manga in the United States Abstract: This research paper will primarily discuss the impact that Japanese animation and manga have had on American popular culture and the subsequent cult following they developed. It will discuss what distinguishes Japanese animation from Western animation, how Japanese animation initially gained popularity among American audiences, and how it has subsequently impacted American popular culture. This paper will also focus on the subculture of otaku, a group of people known for their devoted following to Japanese animation and comic books. The purpose of this paper is to discuss the relative popularity of Japanese animation and manga amongst American audiences as an example of globalization impacting the United States from another country. Keywords: anime, manga, soft power, Cool Japan, globalization 2 Introduction During the 1980s and 1990s, Japanese animation and comic books began coming overseas to the United States, where it soon gained popularity amongst a sizeable number of young Americans. Recognizing the economic potential of Japanese popular culture, in 2002, Douglas McGray, writing for Foreign Policy, wrote an article titled “Japan’s Gross National Cool”, highlighting Japan’s potential to be a global “soft power”, or a country that promotes itself through its cultural influence rather than by economic and military force. -
Transcultural Otaku: Japanese Representations of Fandom and Representations of Japan in Anime/Manga Fan Cultures
Transcultural otaku: Japanese representations of fandom and representations of Japan in anime/manga fan cultures Matt Hills, Cardiff University “Otaku is a Japanese word coined during the eighties, it is used to describe fanatics that have an obsessive interest or hobby... The Japanese think of otaku the same way most people think of nerds - sad and socially inept. Western Anime fans often use the word to describe anime and manga fans, except with more enthusiastic tones than the Japanese.” (http://www.thip.co.uk/work/Competition2/what.htm#otaku) This paper will consider the transcultural appropriation of Japanese representations of fandom. The Japanese term “otaku” is similar to pathologising representations of media fandom in the US and UK (where fans are stereotyped as geeks: see Jensen 1992). Although writers dealing with Western fans of Japanese anime and manga have noted these fans’ positive revaluation of the term “otaku” (Schodt 1996 and Mecallado 2000), such writers have not considered this transcultural ‘(mis)reading’ in sufficient detail (Palumbo- Liu and Ulrich Gumbrecht 1997; An 2001). And it should be noted from the outset that by placing misreading in scare quotes, I want to express certain misgivings about this mis-concept. The US/UK appropriation of a (negative) fan stereotype from a different national context raises a number of questions. Firstly, although fans have long been viewed as active, appropriating audiences (Jenkins 1992), this process of appropriation has been largely explored via the relationship between fans and their favoured texts rather than between fans and “foreign” representations of fandom. Discussions of fandom have been typically severed from discussions of national identity, often by virtue of the fact that certain “traditional” fan objects and their US/UK audiences (Napier 2001:256, referring to Star Trek and Star Wars, and we might add Doctor Who) have provided an object of study for scholars placed within the same “national contexts” as the fan cultures they are analysing. -
“Rotten Culture”: from Japan to China MASTER of ARTS
“Rotten Culture”: from Japan to China by Nishang Li Bachelor of Arts, University of Victoria, 2016 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS In the Department of Pacific and Asian Studies Nishang Li, 2019 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. Thesis: “Rotten Culture” from Japan to China by Nishang Li Bachelor of Arts, University of Victoria, 2016 Supervisory Committee Dr. Michael Bodden, Supervisor Department of Pacific and Asian Studies Dr. Richard King, Department Member Department of Pacific and Asian Studies ii Abstract A new sub-culture, “Rotten Culture (腐文化) ”, evolved from Japanese Boys’ Love (BL) manga, has rapidly spread in China and dramatically influenced many areas of Chinese artistic creation. “Rotten Culture” is an extension of Boys’ Love, which indicates that Boys’ Love elements not only existed in manga, but emerged in anime, movies, TV series, and so on. As a start of an analysis of this phenomenon, this thesis will focus on the core of “Rotten Culture”, Boys’ Love, which exists in Chinese manga and web fiction. The central issues addressed by this thesis are: exploring the circulation of Boys’ Love from Japan to China; examining the aesthetics and themes of some of these works; and analyzing the motivations that explain why such a huge amount of people, both professional and non-professional, have joined in creating Boys’ Love art works. iii -
Reflections of (And On) Otaku and Fujoshi in Anime and Manga
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2014 The Great Mirror of Fandom: Reflections of (and on) Otaku and Fujoshi in Anime and Manga Clarissa Graffeo University of Central Florida Part of the Film and Media Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Graffeo, Clarissa, "The Great Mirror of Fandom: Reflections of (and on) Otaku and ujoshiF in Anime and Manga" (2014). Electronic Theses and Dissertations, 2004-2019. 4695. https://stars.library.ucf.edu/etd/4695 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. -
Tanuki Magazine. Japanese Culture Worldwide
TANUKI MAGAZINE: JAPANESE CULTURE WORLDWIDE by KATHRYN RUTH ORTLAND A THESIS Presented to the School of Journalism and Communication, the Department of East Asian Languages and Literature, and the Honors College of the University of Oregon in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2005 Copyright 2005 Kathryn Ruth Ortland An Abstract of the Thesis of Kathryn Ruth Ortland for the degree of Bachelor of Arts in the School of Journalism and Communication and Department of East Asian Languages and Literature to be taken June 2005 Title: TANUKI MAGAZINE: JAPANESE CULTURE WORLDWIDE Approved: _________________________________________________ Tom Wheeler Approved: _________________________________________________ Steven T. Brown Rich with tradition and ripe with nostalgic imagery, Japan captivates the Western mind. Japanese culture was almost unknown two hundred years ago, yet its influences today permeate entertainment media worldwide. Though the popularity of Japanese music, movies, and animation is increasing cultural exposure to Japan, few resources exist to provide honest and educational information on Japanese ways of life. The unfortunate result is that the average American is far better acquainted with Hollywood stereotypes of Japan than with the real thing. Tanuki is a magazine that fills the deficit in coverage of Japanese popular and traditional culture outside of the entertainment market. It is designed as a travel-centric cultural interest magazine for readers who seek the hidden influences, new trends, and lingering traditions of Japan. ACKNOWLEDGEMENTS The author would like to express sincere appreciation to the faculty thesis committee that assisted with this project: Tom Wheeler, Steven Brown, and Sharon Schuman. Special thanks are due to the writers and illustrators who contributed to Tanuki, as well as friends and family who donated time and/or money to sponsor the magazine.