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Nele Noppe

Allons Gai: Be-Boy magazine in French « A Face Made for Radio: Helen McCarthy... - 0 views

helenmccarthy.wordpress.com/...-gai-be-boy-magazine-in-french

academic manga magazines shojo_manga boys_love france manga_industry sexual_content technology cellphones fanficforensics phd

shared by Nele Noppe on 11 Aug 09 - Cached
  • The Anime Encyclopedia points out that porn usually leads mainstream genres in the adoption of new delivery technologies. Japan usually leads Europe and America in just the same way.
Nele Noppe

Japan, Ink: Inside the Manga Industrial Complex - 0 views

www.wired.com/...ff_manga

anime dojinshi fans fanwork manga manga_industry fanficforensics phd

shared by Nele Noppe on 02 Nov 08 - Cached
  • Manga sales in the US have tripled in the past four years.
  • Europe has caught the bug, too. In the United Kingdom, the Catholic Church is using manga to recruit new priests. One British publisher, in an effort to hippify a national franchise, has begun issuing manga versions of Shakespeare's plays, including a Romeo and Juliet that reimagines the Montagues and Capulets as rival yakuza families in Tokyo.
  • Circulation of the country's weekly comic magazines, the essential entry point for any manga series, has fallen by about half over the last decade.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      malaise in commerciële industrie
  • ...23 more annotations...
  • Fans and critics complain that manga — which emerged in the years after World War II as an edgy, uniquely Japanese art form — has become as homogenized and risk-averse as the limpest Hollywood blockbuster.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      belang zelfexpressie, vrijheid in dojinshi
  • The place is pulsing with possibility, full of inspired creators, ravenous fans, and wads of yen changing hands. It represents a dynamic force
  • future business model of music, movies, and media of every kind.
  • Nearly every aspect of cultural production — which is now Japan's most influential export — is rooted in manga.
  • Comics occupy the center, feeding the rest of the media system.
  • About 90 percent of the material for sale — how to put this — borrows liberally from existing works.
  • Japanese copyright law is just as restrictive as its American cousin, if not more so.
  • known as "circles" even if they have only one member
  • by day's end, some 300,000 books sold in cash transactions totaling more than $1 million
  • "This is something that satisfies the fans," Ichikawa said. "The publishers understand that this does not diminish the sales of the original product but may increase them.
  • As recently as a decade ago, he told me, creators of popular commercial works sometimes cracked down on their dojinshi counterparts at Super Comic City. "But these days," he said, "you don't really hear about that many publishers stopping them."
  • "unspoken, implicit agreement."
  • "The dojinshi are creating a market base, and that market base is naturally drawn to the original work," he said. Then, gesturing to the convention floor, he added, "This is where we're finding the next generation of authors.
  • They tacitly agree not to go too far — to produce work only in limited editions and to avoid selling so many copies that they risk cannibalizing the market for original works.
  • It's also a business model
  • He opened Mandarake 27 years ago, well before the dojinshi markets began growing more popular — in part to provide another sales channel for the work coming out of them. At first, publishers were none too pleased with his new venture. "You think I didn't hear from them?" he tells me in a company conference room. But in the past five years, he says, as the scale and reach of the markets has expanded, the publishers' attitude "has changed 180 degrees." It's all a matter of business, he says.
  • triangle. "You have the authors up there at this tiny little tip at the top. And at the bottom," he says, drawing a line just above the widening base of the triangle, "you have the readers. The dojin artists are the ones connecting them in the middle."
  • The dojinshi devotees are manga's fiercest fans.
  • provides publishers with extremely cheap market research
  • the manga industrial complex is ignoring a law designed to protect its own commercial interests.
  • Intellectual property laws were crafted for a read-only culture.
  • the copyright winds in the US have been blowing in the opposite direction — toward longer and stricter protections. It is hard to imagine Hollywood, Nashville, and New York agreeing to scale back legal protection in order to release the creative impulses of super-empowered fans, when the gains from doing so are for now only theoretical.
  • mutually assured destruction. What that accommodation lacks in legal clarity, it makes up for in commercial pragmatism.
Nele Noppe

Uses and gratifications - Wikipedia, the free encyclopedia - 0 views

en.wikipedia.org/...Uses_and_Gratifications_Theory

dojinshi fan_fiction fanficforensics phd

shared by Nele Noppe on 19 Aug 08 - Cached
  • Nele Noppe on 19 Aug 08
     
    # Diversion - a media text which provides an escape from reality. When a media text temporarily partially covers one's senses. For example playing a video game. # Personal relationships - People create personal relationships with the characters in a media text, they start to feel they know them. This can become dangerous if people start to trust them as well, for example if one trusted a news reporter too much they may take everything they say at face value and not question it, this trust could then be abused. # Personal identity - When a person creates part of their own identity from things they find attractive in people from media texts, for example someone may have a haircut because they liked the look of a similar one in a magazine. This can go a long way in shaping people and people's ideas of values, norms, ideologies and fashions. # Surveillance - the audience gain an understanding of the world around them by consuming a media text, for example print and broadcast news.
Nele Noppe

Painting Words and Worlds - 0 views

www.eastasiareview.org/...Lewis_Mia.pdf

academic manga clamp language narrative characters shojo_manga phd

shared by Nele Noppe on 25 May 10 - No Cached
  • Nele Noppe on 25 May 10
     
    is study explores wordplay in the works of CLAMP, a popular Japanese mangaka (comic artist) group. Specically, it examines CLAMP's use of ateji, the pairing of kanji (Chinese characters) and furigana (a reading gloss) with dierent meanings. is allows two dierent words to become one, cre- ating meanings that transcend words' literal denitions. Original research on ateji in six dierent manga zasshi (comic magazines) and three of CLAMP's works-Cardcaptor Sakura, Tsubasa: RESERVoir CHRoNiCLE, and Clover-identies ve distinct ateji techniques. is study focuses on the way these techniques are employed by CLAMP to express complex ideas, develop plot, and portray characters. As a technique embedded within the Japanese language, the implications of ateji use in manga extend beyond the medium of comics, pointing to shifting trends in the language as a whole.
Nele Noppe

Everybody's Fujoshi Girlfriend - 0 views

neojaponisme.com/...everybodys-fujoshi-girlfriend

non-academic fans akihabara fujoshi media gender fanficforensics phd

shared by Nele Noppe on 22 Jun 09 - Cached
  • Media treatment of the fujoshi concept has always been problematic.
  • As a result, when media attention eventually turned to actual fujoshi, the elevator pitch — “They’re otaku, except girls!” — was more or less accurate (granting a broad reading of “otaku”), but the implications were misunderstood. If fujoshi were girl otaku, they must be the girls usually appearing alongside otaku in those TV specials and magazine articles, right? You know — the maids. But no.
Nele Noppe

Creativity in amateur multimedia: Popular culture, critical theory, and HCI - 0 views

74.125.155.132/scholar

amateur_professional fans internet presentation_cwwc creativity open_source theory HCI openness machinima games technology authors communal medium technological_determinism visual_language phd

shared by Nele Noppe on 23 Feb 10 - Cached
  • Today, especially in academic circles, this pop culture phenomenon is little recognized and even less understood.
  • These analyses reveal relationships among emerging amateur multimedia aesthetics, common software authoring tools, and the three theorizations of creativity discussed
    • Nele Noppe
      Nele Noppe on 23 Feb 10
       
      VERBAND FANWERK - OPEN SOURCE
  • This paper explores the enabling factors, especially the role of multimedia authoring tools, in the recent explosion of amateur multimedia.
  • ...23 more annotations...
  • Yet control over popular culture by mass media is clearly eroding
  • HCI practitioners have explored how software interfaces can enhance and support users in general and creativity in particular. Its analytical tools for examining the relationships between tools and a concrete group of users vis-à-vis a well-defined explication of tasks both solve and create problems. The ability to specify these relationships explicitly greatly facilitates the design of systems; yet that same explicit specificity also defines creativity a priori in cybernetic terms more friendly to computers than to the culturally diverse and rich practice of creativity
  • Critical theory—an umbrella term that encompasses literary theory, continental philosophy, and communication theory, among others—offers sophisticated theoretical resources for the study of cultural artifacts and their use in the communities that create them. Many of these theories ground themselves in the materiality of the cultural artifacts they study; yet the material layer for which these theories were once developed were largely textual. The movement of cultural artifacts from the physical to digital poses a deep challenge (and some risk) for critics studying digital media with these theories
  • this paper investigates three relevant traditions of theory that address these overlaps: HCI, poststructuralism, and theories of technological determinism, especially in media.
  • Creativity—its nature, conditions of possibility, inputs and outputs, and processes—plays a major role in virtually all academic, professional, and artistic domains. As a result, it is heavily, and heterogeneously, theorized.
  • Genealogically, HCI developed alongside cognitive science and computer science, and was most often put in service of professional productivity software.
  • HCI often characterizes creativity in rationalistic, intentional, and scientific ways. For example, Schneiderman (2002, 2003) proposes a creativity framework for, in his words, “generating excellence” with four parts: collect, relate, create, and donate. With it, he hopes to capture the social, iterative, associational, and distributional characteristics of creativity, especially as described by cognitive science. Evident in this perspective is an effort to model creativity, which is seen as a social activity, with certain structural features that take place in environments conducive to creativity.
  • All of this is in service of what Schneiderman calls “evolutionary creativity,” which he illustrates as follows:“doctors making cancer diagnoses, lawyers preparing briefs, or photo editors producing magazine stories”(2002, p. 238). Here, Page 17 Creativity in Amateur Multimedia 15 and pervasive throughout the essay, Schneiderman’s notion of creativity appears to be paraphrasable as professional innovation: His interest is not artistic self-expression and, as we shall see, he is not alone in understanding creativity in terms of professional discourses
  • Again, creativity is understood as it relates to professional discourses, in this case the discourse of art history and its pedagogical presentation to museum-goers. Even analyses of group creativity in HCI contexts that seek to go beyond rationalist- individualist notions of creativity nonetheless operate in a rationalist mode.
  • The notion of creativity that emerges from these mainstream HCI essays places its agency primarily in the intentional activity of the individual (though the individual is presumably a member of relevant groups). It sees the ecology of creativity as a community of expert practice comprising research, dialogue, and artifact exchange, facilitated by social and computer environments that forgivingly compel an iterative and basically scientific (correctness, discrete information, classification, hypothesis) approach toward truth.
  • The role of the author-function is, among other things, to control the polyvalence intrinsic to texts, such that the author, rather than performing the creative role of bringing the text into the world, performs the role of constraining the meaning of the text within a society.
  • (Foucault, 1969/2000, p. 206). Therefore, writing is a destabilizing force that threatens to transform the discourse in which it operates and to swallow up its own author. It is important to remember that Foucault is not limiting his analysis to literary texts; he explicitly includes scientific and academic writing,
  • In this conceptualization of writing, creativity occurs at the level of discursive rule- transgressing. The role of the historical human in this process is greatly diminished, not because humans are not involved in textual production, but because the individual is at the wrong level of granularity for analysis. A given historical individual authoring discourse does so within complex interactions involving several selves and the clash of languages
  • Related, but not identical, to Foucault’s notion of authorship are theories of “intertextuality” put forward by Julia Kristeva and Roland Barthes. Intertextuality is the notion Page 19 Creativity in Amateur Multimedia 17 that a text is a “tissue” of (mis) quotations from other texts, considered to be more than mere collages, but transformative, of the sign systems from which they are derived (McAfee, 2004)
  • Creativity’s agency lies in the juxtaposition of sign systems (in which authorial identities are implicated), which occurs in the context of play, and results in artifacts that are significant not for what they say, but for the ways they materially contribute to the generative capacity of the discursive rule-set from which they operate.
  • Perhaps the foremost theorist of technological determinism is Jacques Ellul (1964/2003, 1980/2003), who argues that individuals, science, and government are all “conditioned” by technology.
  • Like Schneiderman (2002, 2003) and Foucault (1969/2000), Ellul (1964/2003, 1980/2003), too, is making claims about the origins and generation of knowledge in scientific discourses, but he situates the agency in the fierce pressures of technology as it overwhelms and often replaces the comparatively meek procedures of science and governance
  • As a result, according to Benjamin, our cognitive experience of the art also changes; whereas painting allows spectators to control their own stream of consciousness and reflect on what they see, cinema’s moving images disrupt association and contemplation, dominating viewers’ thoughts.
  • Benjamin’s (1936/1968) arguments are developed further by self-described technological determinist Marshall McLuhan, whose claim that “the medium is the message”(1964/2003) characterizes media as “extensions of ourselves” that “alter sense ratios or patterns of perception steadily and without any resistance”(p. 31).
  • For Manovich, the emergence of new visual languages is enabled not by an iterative, rational approach to innovation, as cognitive science might suggest; neither does it emerge from an evolutionary history of discursive transgression, as a poststructuralist approach might suggest 10. Rather, it is made possible by certain forms of productive convenience built into authoring tools that unleash visual languages and cultural logics that exceed any human intention, whether at the level of the individual or the group of experts.
  • To answer this question, it is useful to consider what the three traditions share in common. All consider creativity in the context of professionalism and knowledge production. Creativity is not simply about painting a pretty new picture or expressing a personal emotion; it contributes to discourses about the world and our place in it. All three traditions also understand creativity as situated within systems—networks of software-supported experts, discursive sign systems, or systems of production and consumption. All of these implicitly reject romantic notions of the individual creative genius and pure self-expression; implied in this is a rejection or at least dilution of individual intention as the prime mover of creativity
  • Questions one might ask include the following: What are the social and technical conditions or structures necessary for the generation of these artifacts? What is the discourse of amateur multimedia? What is the minimal unit of meaning? In what ways does its production establish relationships between authors, viewers, technologies, meaning, and ideology?
  • A key first step is to understand how creativity is implemented in multimedia authoring software. Each program has ways it encourages authors to work. For example, Photoshop greatly rewards users who take advantage of layers, opening up avenues of possibility for compositing, nondestructive experimentation, and long-term editability. This in turn makes certain meanings (especially meanings created by the juxtapositions of spatial compositing) more easily realized than others. To what extent do contemporary authoring platforms encourage in the same ways (constituting and compelling a notion of digital creativity), or do different applications suggest different notions of digital creativity?
  • Nele Noppe on 23 Feb 10
     
    "1"
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