That was the case when she dabbled in Fan Manga, which is a fan-drawn comic using existing characters but with newly created storylines. She had entered her work into a National Fan Manga contest that required her to use a manga called "Black Sun Silver Moon." Soon after she entered, she heard from the contest sponsors, TheOtaku.com and the go!comi publishers, that she was one of 15 finalists. Guests at the New York Anime Festival voted on their choices -- and at the ending ceremonies, she discovered her work had won."My fan manga will be published in the back of the actual manga 'Black Sun Silver Moon,' which is every manga fan's dream: to be published in a real one," she says. "I haven't gotten word which issue it will be published in but go!comi said they'd let me know."
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How doujinshi will take over the world (or not) - 0 views
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First, doujinshi are not commercial products, and this is one of the most important distinctions that allows its very existence.
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Many doujinshi conventions (Comiket included) require doujin circles to provide print run information, and enforces a cap. Quite simply, there aren’t enough books to export en mass.
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This is also why doujinshi has continued to grow while other media like manga, anime, and music have suffered with the advent of peer to peer trading on the internet…the doujinshi market is a collector’s market, where the physical book itself is highly valued
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U.S. anime expert: Girls drive market - 0 views
The Growth of Intellectual Property: - 0 views
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Where did these claims come from? How did it come to pass that, in the United States, one can now own the décor of a restaurant, and lawyers argue seriously about exclusive rights to athletic moves? This essay seeks to answer those questions.
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The various circumstances and forces that have contributed to the proliferation of intellectual-property rights have reinforced one another
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the opponents of the growth of intellectual property should not be overly optimistic. A mutually reinforcing combination of economic, ideological, political, and discursive conditions makes further expansion of these entitlements likely.
Webster's World of Cultural Policy - 1 views
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Facing the indifference and hostility of the vast majority of their populations -- sometimes referred to as "non-publics," to indicate their disinterest in establishment culture -- European policy-makers reinterpreted their own roles. They began to see themselves as needing to address the many cultures within their societies, not simply promoting the traditional "high art" culture favored by wealthy patrons in the past. Instead of focusing on how to lure people into established arts institutions, these cultural ministers turned to a set of much broader social questions: How can we begin to overcome the already-entrenched alienation of modernization? How can we retrieve and preserve relevant traditions? How might we facilitate cross-cultural communication, even cooperation? How can we help animate community life?
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Among the primary means devised to realize the aims of cultural democracy is community animation.
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What's most important for advocates of cultural democracy is to keep the big picture in mind.
Calvin Trillin - Wikipedia, the free encyclopedia - 1 views
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Andrew McKevitt
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On top of that, I think there's an ethnocentrism (for lack of a better word) at play here. Japanese Americans and Japanese immigrants have recounted watching untranslated, unsubtitled, unedited anime on local-access Japanese community TV stations in LA from the early 1970s on, and their ability to access and understand this "foreign" cultural product could serve as an "in" with non-Japanese SF fan communities. It seems that Japanese in the United States are often written out of the stories of Japanese cultural transmission to this country. (I think it was Calvin Trilling who argued that, in fact, that's one reason why sushi is so appealing-- Americans don't identify it with physical Japanese bodies, like they do "lesser" cuisines such as Chinese and Mexican.) Just another example that might show that this process was more diffuse than Leonard or Fred Patten have represented.
A clash of cultures: cultural differences within American and Japanese animation - 0 views
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Geert Hofstede & Intercultural Value Dimensions
Why PROTECT IP Will Fail: Cultural Acceptance, Not Fear Of Punishment, Makes People Abi... - 0 views
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This new proposed law is a terrible way to try to solve [infringement]. Its passage would only drive the culture further yet from any respect for the rule of law as it applies to intellectual property. But if Big IP hasn't figured out yet that it is cultural acceptance of legal norms, not fear of punishment, that makes a free society a law-abiding one -- if Big IP doesn't understand what the de facto attitude of consumers regarding copyright has already become, and where it is already going -- then heck, maybe at this point the law professors and the rest of us should just let Congress already go ahead and give them enough rope. This is the key point that many of us have been trying to drive home for years. It's the same key point that the SSRC report made in pointing out that "enforcement" and "education" are simply not strategies that work. And that wasn't based on theory. It was based on years and years of detailed research. And yet, to the industry and to the government there seems to be only one single tool in the box for dealing with the challenges of infringement: to scare people. But that only works if people are stupid. And we now have plenty of experience in recognizing that people don't culturally accept the claims of the industry on this issue, and no amount of threats and punishment are likely to change that.
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