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'Boys love' a vicarious escape for girls -Yomiuri - 0 views

www.yomiuri.co.jp/...20080201TDY13104.htm boys_love fans film fujoshi gender manga non-academic fanficforensics phd
shared by Nele Noppe on 02 Nov 08 - Cached
  • However, her words convey a profound truth--a yearning for relationships with interchangeable roles that are free from fixed ideas about gender.
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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.
  • the manga industrial complex is ignoring a law designed to protect its own commercial interests.
  • "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
  • 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."
  • 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.
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Pokémon and international politics? - 0 views

www.ethanzuckerman.com/...mon-and-international-politics fansubbing pokemon video fanwork fanficforensics phd
shared by Nele Noppe on 02 Nov 08 - Cached
  • She identifies Pokémon as a media form that has defined the current framework, laying the groundwork for peer-to-peer communication and creation of media. While the current generation has outgrown Pokémon, the game franchise shaped how global youth think about culture and gaming. It linked analog and digital media, she proposes, by creating an electronic game that later manifested as a collectible card game, manga, anime, toys and other media. It put portability at the center of the media mix, and helped establish Japanese media content as a transnational source of cultural capital
  • She sees a generation of kids engaging in a set of cultural practices - cutting, pasting, linking and forwarding in spaces like MySpace
  • Individual identity is no longer consumer or producer - there’s a middle ground that includes connoisseur and amateur.
  • ...6 more annotations...
  • Networks are no longer mass media or purely personal communication - there are community networks that allow communication about niche interests to a large population
  • The work done by the fan community is of impressively high quality and speed - fan substitles are usually distributed to new episodes within 24 hours of their release,
  • Media companies aren’t unaware of this obsessive fandom - their release cycles and their localization of content into different languages often reflects producers watching fan behavior.
  • The Matrix itself is something of a remix, an American film that borrows heavily from the cliches of Japanese and Chinese action films
  • Mimi sees three trends taking place: - a ping-pong back and forth between US and Japanese culture, informing the mass communication aesthetic - a mainstreaming of the otaku aesthetic, a fondness for arcane, complex, richly detailed worlds (think of the popularity of the absurdly detailed universe of Harry Potter, for instance) - remix as a method of localizing and “talking back” to mainstream media.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      a fondness for arcane, complex, richly detailed worlds -love this line!!
  • So here’s a question - does participation in these international joint projects turn into a more generalized form of xenophilia? Do American fans of anime develop a generalized fascination with Japan, which somehow expands from watching Naruto to watching global politics?
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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.
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The Road to Comiket - 0 views

heiseidemocracy.com/...the-road-to-comiket comiket_ibento dojinshi fans fanwork non-academic fanficforensics phd
shared by Nele Noppe on 02 Nov 08 - Cached
  • held twice a year in August and December at the Tokyo Big Sight in Tokyo, Japan, and attracts over 450,000 participants over its three day run.
  • primary focus of the event is the buying and selling of doujinshi
  • Comiket is also known colloquially as the birthplace of cosplay and thousands of visitors come dressed as their favorite anime, manga and game characters as well.
  • ...15 more annotations...
  • establishment of an official industry presence in the form of an industry booth dealers’ section
  • alternate media such as software, music, and character goods.
  • doujin circle (同人サークル). A doujin circle is an individual or group of creators who collaborate as a discreet entity to produce doujin items for sale;
  • Recently the so-called “kojin circle” (個人サークル, personal circle) composed of a single member has been increasing, as individuals take on all aspects of doujin production from the application process, illustration, post-production, printing, and staffing of the table space allotted at the event.
  • Step 1 Purchase an application packet.
  • Step 2 File the application correctly and on time.
  • Comiket is an all genre event, meaning literally anything goes
  • Step 3 Wait for the election results.
  • Step 4 Produce a doujin.
  • Also, copyright considerations that apply to other events such as Wonder Festival are in effect here when it comes to certain types of character goods (no unauthorized figures), and while most IP is considered fair game for parody in the doujin community, a few exceptions such as Disney stand out as taboo.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      This is interesting- dojinshi using copyrighted characters may be sold, but no unauthorized figures of said characters? Is this because figures cost just a little too much for copyright holders to be comfortable with letting fans produce them? I'm not surprised about the Disney exception, non-Japanese companies with little experience with the dojin economy are probably a lot more likely to come down like a ton of bricks on anyone selling things based on their copyrighted characters.
  • Step 5 Coordinate replication.
  • Step 6 Make final preparations.
  • This broadening of distribution means that it’s no longer necessary to attend events in person to obtain many professionally produced books at a reasonable price. While they’re still cheaper at Comiket, many circles have recognized the need to provide something more to encourage fans to attend (or just to show gratitude to those who do show up), and that’s where the copy book comes in.
  • Step 7 Show up and sell!
  • At some point before 9:30 an event staff member will visit you at your table where your participation will be officially registered. You must provide both a sworn statement that you’re not selling anything illegal and copies of the books you’ll be releasing that day to the staff, and then you’re clear to go.
    • Nele Noppe
      Nele Noppe on 02 Nov 08
       
      I wonder if the staff sometimes takes away merchandise or closes entire boots at the last minute because they've found something objectionable in the advance copies provided to them (apparently only hours or minutes before the opening of the event)?
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Of Otakus and Fansubs - 0 views

www.law.ed.ac.uk/...hatcher.asp academic anime copyright fans fansubbing internet fanficforensics phd
shared by Nele Noppe on 23 Dec 08 - Cached
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • hindrances in a digital world that copyright laws pose for creative works that, while technically infringing, should perhaps be valued and allowed.6 Certain features of digital technologies and the internet,7 according to Lessig, can permit greater restrictions on remix than were allowed in the past.8
  • Lessig and other legal scholars such as Mehra have pointed to dojinshi in Japan as an example of how permitting more “remix” can contribute to a vibrant cultural industry.
  • ...26 more annotations...
  • some artists make a living off producing dojinshi.
  • In the west, fans of anime, the term for Japanese animation, behave much like fans of Star Wars and Star Trek: they “remix” the characters and ideas from the stories they watch.
  • Trekkies or Star Wars fans do the same activities as otaku, but one practice sets anime fans apart from other avid fans: fansubs.
  • Manga also has its own form of fansubs called scanlations
  • Fansubs and scanlations don’t quite match the “traditional” forms of remix that Lessig and others mention. They do not create a “new” work in the same sense as dojinshi, fan films, or AMVs because their aim is to remain faithful to the original work.
  • Fansubs as a cultural product sit at an interesting boundary—between the dojinshi-like fan culture that authors such as Lessig want to encourage and the massive online file trading so vilified by the recording and motion picture industries.
  • examines the anime industry’s unique relationship with fansubbers in the context of the suggestion that it represents a new policy model for online copyright.
  • Section 7 concludes by stating that it is too soon to claim the anime industry as a victory for alternative business models incorporating what most would think of as widespread copyright infringement.
  • Otaku create fansubs because they love anime—in fact, most love all things Japanese.
  • Fansubs predate BitTorrent, broadband, the dotcom boom and bust, and even the World Wide Web.
  • Fansubbers distributed or traded the finished videocassette tapes to others, but because of the time and cost involved of mailing out a physical medium, distribution was limited.
  • At one time fansubs were virtually the only way that fans could watch (and understand) anime.
  • But as with the music industry, the benefits of digital technology and the internet brought problems.46 Fansubbers started to take advantage of faster computers that allowed them to subtitle anime without the need for expensive, specialized equipment.47 This made it easier for more people to fansub because of the lower cost barriers to becoming a fansubber. The internet also meant that fans could meet from around the world, thus making it more likely that fansub groups would form. Today, groups now make digital video files instead of videocassettes.
  • Fansubbed videocassettes offered a poor quality picture and sound that encouraged fans to buy the licensed product when it came out and also limited the number of copies that could be made from a single original cassette (or from 2nd and 3rd generation cassettes).49 Digisubs offer a quality comparable to official (DVD) releases and the ability to make limitless copies.
  • Fansubbers then “release” their fansubs to fans. Distribution happens through all of the regular internet channels, including p2p services (Kazaa, eMule, etc), BitTorrent, IRC, and newsgroups.
  • Lessig essentially asks the question, “Do our laws stifle creativity and sharing to the point where it harms society?”78 Some point to fansubs and anime as part of the answer to this question—when a company allows some illegal activity it actually benefits.
  • Unfortunately for fansubbers, copyright law does not condone their activities.80 International copyright treaties such as the Berne Convention, state that its signatories (such as the United States and Japan) should grant authors the exclusive right to translation.
  • copyright law construes translations as “derivative works”.82 Derivative works are any work “based upon one or more preexisting works.
  • Within Japan, fansubs could potentially be within the law because the Japanese take a more relaxed attitude towards some aspects of copyright law and include private use and non-profit exceptions into their law.
  • The Japanese legal system may also, as a practical matter, discourage litigation towards fansub groups within Japan,
  • For infringements outside of Japan, it is no small wonder that Japanese companies do not bother with the expense of enforcing a right against a group whose infringement affects a distant market with a different legal system.
  • In his article regarding selective copyright enforcement and fansubs, Kirkpatrick argues for a fair use defense under U.S. law for fansub activities based on the cross-cultural value of translations, the non-commercial nature of fansub groups, and the potential market enhancement for the original work.
  • The fact remains that fansubs may create a preferable product for otaku—thus decreasing any market enhancement arguments.
  • One wonders what could be easier than a few clicks of the mouse and a few hours (or less) wait for a file to download, for free. Many video files deliver comparable picture quality and fandubs do exist.
  • Regardless of any potential defense, the law sufficiently tilts towards copyright holders so that they can easily use the threat of suit as enforcement.
  • The sheer cost of defending a copyright suit makes for a powerful incentive for fansubbers to settle, especially since fansubbers make no money from their activities and are unlikely to have any assets.
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Fanfic Symposium: On Swinging Both Ways, Fannish and Pro - 0 views

www.trickster.org/...symp93.html fan_fiction literature fanficforensics phd
shared by Nele Noppe on 19 Aug 08 - Cached
  • Fanfiction puts narrative back in the hands of the people! It's a folkloric art! It helps us go from being passive consumers of media to active participants in creating the archetypes of our culture!
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Fanfic Symposium: Cross Fertilization of Fan and Professional Writing - 0 views

www.trickster.org/...symp94.html fan_fiction language literature narrative fanficforensics phd
shared by Nele Noppe on 19 Aug 08 - Cached
  • The prevalence of such curious language use led me to think that fan-writers must have influenced one another’s diction because they read so much of one another’s writing, with the result that they incorporated the idiosyncratic as the norm.
  • These are only surface manifestations.  There are deeper phenomena.  The foremost is that the world inhabited by the characters in some fan fiction reflects the limited experiences of the writers. 
  • There is nothing wrong with this if the characters are from the American middle class.  Unfortunately, many popular shows feature people not acculturated in such a milieu—Methos, Duncan MacCleod of the Clan MacCleod, Benton Fraser, Harry Potter, Snape, Tom Paris, Chakotay, Obi-Wan, Qui-Gon. . . .  Consequently, the specter of these characters spouting psychobabble is disconcerting, to say the very least.
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