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Ariane Beldi

Transformative Works and Cultures - 1 views

journal.transformativeworks.org/...twc

online journal english html textual image pdf academic scholar articles review essay social sciences media studies cultural studies reception community fandom transnationalism theory method

shared by Ariane Beldi on 06 Sep 10 - Cached
  • Ariane Beldi on 06 Sep 10
     
    "Transformative Works and Cultures (TWC) is an international, peer-reviewed journal published by the Organization for Transformative Works. TWC publishes articles about transformative works, broadly conceived; articles about media studies; and articles about the fan community. We invite papers in all areas, including fan fiction, fan vids, film, TV, anime, comic books, fan community, video games, and machinima. We encourage a variety of critical approaches, including feminism, gender studies, queer theory, postcolonial theory, audience theory, reader-response theory, literary criticism, film studies, and posthumanism. We also encourage authors to consider writing personal essays integrated with scholarship; hyperlinked articles; or other forms that test the limits of the genre of academic writing."
  • Ariane Beldi on 06 Sep 10
     
    This online journal is opened to work on anime and manga fandom, so I thought this would be of interest to this group!
Nele Noppe

Comic Market: How the World's Biggest Amateur Comic Fair Shaped Japanese Dōji... - 0 views

muse.jhu.edu/...5.lam.html

academic manga dojinshi fans manga_industry

shared by Nele Noppe on 26 Nov 10 - No Cached
  • the world's largest regular gathering of comic fans today is Tokyo's biannual Comic Market
  • dōjinshi phenomenon did not start with Comic Market, Comike and dōjinshi are inextricably linked, having shaped each other's history for three decades.
  • Comike convention has shaped the most important trends defining the development of dōjinshi in Japan today
  • ...29 more annotations...
  • In 1975, a woman who had made critical remarks about the Manga Taikai was excluded from that convention, and [End Page 234] subsequently a firestorm of anger among fans produced a movement against the Manga Taikai led by the famous circle Meikyū (Labyrinth), which resulted in the conception of a new alternative convention. On December 21, 1975, the first Comic Market—"a fan event from fans for fans"—was held in Tokyo.6
  • [End Page 232]
  • [End Page 233]
  • Comike's underlying vision was of an open and unrestricted dōjinshi fair, offering a marketplace without limitations on content or access.
  • With the advent of these fan-consumers (as opposed to fan-creators), dōjinshi became demand-driven publications. Greater competition gradually fostered rising standards of quality, which in turn attracted more circles and buyers. Higher sales shrank production costs and boosted profits, which could then be reinvested in the dōjinshi themselves. Small printing companies, many of which had begun in the minikomi (microcommunication) boom of the early 1970s, were able to use the profits derived from greater demand for their services to modernize their equipment, lowering production costs further and enabling them to construct their production schedules around each Comike.8 Additionally, lower printing costs freed smaller groups from the dependence on bigger groups, which often had strict rules on content and style to avoid conflict among their many members. Having lost their raison d'être, these big clubs and circles gradually faded away, leaving dōjinshi creators to produce stories they liked, in the manner they liked.9
  • [End Page 235]
  • aniparo parodied popular anime series, and in doing so, attracted a new type of fan to Comike, beyond its core group of 2000 or so attendees. These were female fans, mostly middle and high school students strongly influenced by the 1970s florescence of shōjo manga. They began to create and consume dōjinshi in which the (bishōnen or "pretty boy") male protagonists of popular anime and manga were transposed into a very particular sort of erotic story typified by the phrase: "without tension" (yama nashi), "without punchline" (ochi nashi), and "without meaning" (imi nashi)—and hence the contemporary genre title, yaoi.10
  • The eleventh Comic Market in spring 1979 saw the popularity of the cute and pure bishōjo or "pretty girl" (strongly influenced by 1970s shōjo manga) skyrocket among men's dōjinshi circles, attracting many new male participants.
  • The Comic Market was dominated by women from the beginning (90 percent of its first participants were female), but in 1981, thanks to lolicon, male participants numbered the same as female participants for the first time in Comike's history.13
  • [End Page 236]
  • Internal conflicts on the Comike planning committee underlay some of these developments: they marked the ascendancy of the faction led by Yonezawa Yoshihiro, who favored Comike's unlimited expansion.15 Though he was criticized for purportedly selling dōjinshi out to commercialism, Yonezawa couched his plans for Comike in terms of a collective organization of the convention by all participants, including staff, circles, and visitors.16 Whatever the underlying reality, these public principles remain little changed today.17
  • Faced with this loss of identity, talent, and space, every other large fan convention except Comike dissolved. Yaoi Boom But in the middle of the decade, one manga and its anime not only saved dōjinshi fandom from near extinction but was responsible for its biggest boom yet. Takahashi Yōichi's Captain Tsubasa (1981–88, Kyaputen tsubasa),
  • [End Page 237]
  • New dōjinshi conventions appeared, and manga shops began selling dōjinshi on commission. Comparatively lush, custom-made, oversized dōjinshi with more than one hundred pages became common, and popular circles could now live on their fanworks' profits
  • professional creators like Toriyama Akira of Dragonball fame participating,
  • [End Page 238]
  • Despite the self-censorship brought on by the mass media's criticism, Comike nevertheless continued to thrive. Young men tired of new, tighter restrictions on professional manga turned to Comike, and attendance once again swelled to 230,000 in the summer of 1990.23 Hardcore lolicon was now passé, and erotic dōjinshi for men had greatly changed. New genres were introduced with such aspects as fetishism and a new style of softcore eroticism enjoyed by men and women alike; in particular, yuri (lily), or lesbian stories, emerged.24Dōjinshi also became smaller and shorter due to professional publishers recruiting talented dōjinshi creators en masse: the bulk of dōjinshi were the works of the less talented creators left behind.25
  • Other factors contributing to the increased interest in dōjinshi and in fanworks were the development of fixed otaku landmarks and the spread of computers. Almost everyone could now afford to make digital dōjinshi as well as audiovisual or even interactive dōjinshi (i.e. dōjin music and dōjin games).
  • The personal technology revolution meant [End Page 239] simplification of fanworks' production processes as well as completely new possibilities for communication and new digital genres. With the growth of dōjinshi in other media, the term "dōjin products" (dōjin seihin) has gradually come into use to describe fanworks of all genres.
  • Further, the conversion of Tokyo's Akihabara "Electric Town" into a district full of shops selling otaku-related goods, as well as the nationwide expansion of otaku-goods retailers and the establishment of Internet communities and message boards in the late 1990s, enabled otaku to live out their interests and to communicate nonstop with like-minded people everywhere. Their interests and culture were easily shared, and consequently information on Comic Market and dōjin culture spread around the world.
  • The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.28 Firms had been interested in Comic Market for decades as a never-ending pool of promising new talent and as a place to exploit them commercially, and they were willing to pay much money for direct access to these masses of otaku.29 Starting with NEC in the summer of 1995, companies were granted exhibition space to market or to sell their newest products. This was the birth of the dealer booth at Comike, and, as with dōjinshi circles, the number of applicant companies was much higher than that of available spaces: a self-sustaining event with such high attendance was too important for any related company to ignore.30 Companies accepted the existence of unlicensed parody dōjinshi using copyrighted material (albeit in a transformative and thus arguably fair-use manner) since they could now sell exclusive goods at Comike (Figure 3) or use it as a marketing place, attracting to the convention people who were not interested in dōjinshi.
  • In the summer of 2004, 5 percent of all circles participating in Comike were headed by a professional mangaka or illustrator, while another 10 percent had some professional experience.
  • Despite its relative newness, Higurashi became one of Japan's biggest media phenomena, and at the seventy-sixth Comic Market in summer 2009, Tōhō Project became the first dōjin title ever to receive the honor of being considered its own genre.
  • [End Page 243]
  • It seems that dōjinshi circles are not switching entirely to the Internet but rather are using it as an informational and marketing platform for themselves and their creations, spreading the knowledge of and fascination with Comic Market to new spheres.
  • With high attendance, positive media attention, and industry support, Comike's position seems invulnerable. Even the deaths of important figures such as Iwata Tsuguo in 2004 and Yonezawa Yoshihiro—who was the face of Comike for decades—in 2006 did not harm its position. But unresolved problems, such as the use of copyrighted material in parody dōjinshi and the child pornography questions inherent in lolicon and shotakon, remain.
  • Comike was neither the first nor the biggest dōjinshi fair when it was established; its main purpose was to provide the freest market possible, and that freedom has come at a price. The dream of a Comic Market open to every one and everything was never realized, as there were too many physical, financial, and legal restrictions. Even today, the Comic Market suffers from a lack of space, a lack of money, and a lack of legal security. Only two-thirds of applicant circles can participate due to constraints, since, as a small independent operator Comike's financial resources are limited and most of the work is done by volunteers.
  • s the center of attention, with its size and its links to the industry, it is undeniable that Comike possesses the power and the means to influence social, market, and even political developments. In [End Page 244]
  • recent years it has not been reluctant to use this power. Whether through conferences on copyright issues or on the establishment of a "National dōjinshi fair liaison group" (Zenkoku dōjinshi sokubaikai renrakukai) in 2000, it has taken on the responsibility of representing and of regulating Japanese dōjinshi culture.
Nele Noppe

Soft Power Hard Truths / American anime fans party, but don't pay - 0 views

www.yomiuri.co.jp/...20090320TDY13002.htm

academic anime cosplay fans manga manga_industry

shared by Nele Noppe on 24 Mar 09 - Cached
  • The role of the Internet in cultivating communities without generating profits has been amply addressed. On top of that, producers of Japanese pop media are struggling with outdated and self-destructive business models.
  • In a recent interview for pop culture news site ICv2.com, TokyoPop founder and CEO Stuart Levy describes his company's initial strategy in 1998 to harness what he calls "the three C's: content, community and commerce." A decade later, he and others in Japan's U.S.-targeted pop industries have been wildly successful at mastering the first two--content and community--but are struggling mightily to complete the triangle.
Ariane Beldi

Special Issue CFP: Transnational Boys' Love Fan Studies (March 2013) - 2 views

journal.transformativeworks.org/...19

website online journal english html textual pdf article academic social sciences theory method fandom public reception audience studies cfp BL

shared by Ariane Beldi on 15 Nov 11 - No Cached
  • Ariane Beldi on 15 Nov 11
     
    "'BL' (Boys' Love), a genre of male homosexual narratives (consisting of manga, novels, animations, games, films, and so forth) written by and for women, has recently been acknowledged, by Japanese and non-Japanese scholars alike, as a significant component of Japanese popular culture. The aesthetic and style of Japanese BL have also been assumed, deployed and transformed by female fans transnationally. The current thrust of transnational BL practices raises a number of important issues relating to socio/cultural constructs of BL localization and globalization. Scholarly endeavors in relation to BL can be enriched by further research concerning the activities of transnational BL fans, fan communities, fandom, and the production of fan fiction. Most previous BL fan studies have remained circumscribed to Japan and North America. Therefore, in order to further develop transnational BL fan studies, we are seeking contributors who are engaged in the exploration of non-Japanese and non-North American contexts (e.g. Europe, the Asia-Pacific region, Africa, and others). Transnational BL fan studies may also be incorporated into the broader socio/political critical frameworks offered by studies in economics, gender/sexuality, race/class, and other areas. "
  • Ariane Beldi on 15 Nov 11
     
    For those who are studying fandom and Boy's Love, this might be an opportunity to share your researches!
Ariane Beldi

ASIAN JOURNAL OF LITERATURE, CULTURE AND SOCIETY - 1 views

www.gse.au.edu/index.php

website archive english html textual image pdf academic scholar article review asia social sciences humanities method theory online archive

shared by Ariane Beldi on 11 Jun 10 - Cached
  • Ariane Beldi on 11 Jun 10
     
    ASIAN JOURNAL OF LITERATURE, CULTURE AND SOCIETY is an international peer-reviewed academic periodical which provides a forum for interdisciplinary discussion of issues related to East, South and Southeast Asian arts, cultures and societies, inviting contributions from the disciplines of literature, literary/art criticism, language, philosophy, anthropology, social studies, cultural studies, semiotics, gender studies, film, media and communication arts, architecture and design, and contemporary critical theory. The journal publishes original research articles concerned with Asian texts and contexts, as well as a variety of creative forms of writing, while its interview/event/review section offers an analysis of related recent literature and a commentary on relevant cultural events.
Nele Noppe

Cross-Cultural Space: Spatial Representation in American and Japanese Visual Language - 0 views

66.102.1.104/scholar

academic manga visual_language

shared by Nele Noppe on 06 Dec 07 - Cached
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      quote! en meer zoeken over die theorie van visual language
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      aspecten van een situatie tonen eerder dan de actie
  • subjectivity can be encoded in a panel as a whole, shifting the viewpoint of the panel to a member of the fictive narrative.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      subjectiviteit viewpoints
  • ...13 more annotations...
  • Japanese children use aerial and close up (“exaggerated”) viewpoints en masse and were not found in the American children’s representations at all.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      close-ups belangrijk: tonen emoties? (shonen van nabij bekijken)
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      statistieken voor close-ups, linken!
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      dit klinkt gek, denkende aan shojo-layouts. bekijken -> aan afbeelding te zien: lijkt op eerste gezicht niet Japans, nee. is er rekening gehouden met zaken zoals shojo stijl, waar de frames vaak helemaal afwezig zijn??
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      aan bibliografie te zien: GEEN shojo manga, enkel shonen en gekiga. dat verklaart ongetwijfeld het één en ander welke invloed heeft deze fout op verdere redenering?
  • Though the numbers are minor, American books seem to modify their panels with framing types more than Japanese books do.
  • Aerial High-angled Lateral Low-angled Ground-up American 1 (SD = 1.2) 9.7 (SD = 8.5) 82.1 (SD = 8.5) 6.1 (SD = 3.7) 0.25 (SD = 0.4) Japanese 1.2 (SD = 0.9) 14.9 (SD = 5.1) 73.4 (SD = 8.6) 8.9 (SD = 3.9) 1.3 (SD = 1.5)
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      blijkbaar zijn manga relatief gevarieerd qua perspectieven
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      is relatief minder diepte in manga een gevolg van minder achtergrond?
  • a greater variation across authors for LRM categories than Japanese books do. I hypothesize that this variation can be attributed to a willingness of American authors to experiment more with the visual language as an “artistic” medium, as opposed to the Japanese usage of more of a communicative system akin to language (Cohn 2004)
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      heel interessant! worden manga in japan meer gebruikt voor 'communicatie', en comics in de vs meer voor 'artistieke expressie'? (ook superhero comics van dertien in een dozijn?)
  • An “Art” treatment emphasizes individualistic and innovative techniques for authors, while a “Language” system promotes shared techniques amongst a community.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      gebruiken om erop te wijzen dat manga een 'taal' bevatten! -shared techniques wil niet zeggen minder originele inhoud, gaat over structural means
  • difference is recognizable in other domains such as drawing style. While American authors draw in dramatically varying ways, Japanese authors are similar enough in structure to belong to an overarching “Japanese style” that is recognizable at a glance.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      manga-tekenstijl is 'japans', herkenbaar
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      masami toku opzoeken
  • Of course, the need for an explanation for variance at all is in part a curious one when dealing with the notion of languages, since usually languages are expected to vary.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      is het proberen uitleggen van verschillen tss japanse en amerikaanse visual language even onzinnig als het zoeken van verklaringen waarom iets in japan 'kuruma' heet en in de vs 'car'? of heeft het een nut om te zoeken naar verklaringen voor verschillen?
Nele Noppe

Taro Aso: The Millionaire Slumdog - 0 views

www.isn.ethz.ch/...Detail

non-academic manga language aso_taro politics

shared by Nele Noppe on 17 Mar 09 - Cached
  • And yet Aso makes the most hair-raisingly hilarious slip-ups in the art of kanji reading. Not surprisingly perhaps, since by his own admission, the prime minister does not do much reading apart from his beloved manga comic books. Kanji do not have a very great part to play in the world of manga, where communication mostly takes place in howls of one syllable.
  • And yet Aso makes the most hair-raisingly hilarious slip-ups in the art of kanji reading. Not surprisingly perhaps, since by his own admission, the prime minister does not do much reading apart from his beloved manga comic books. Kanji do not have a very great part to play in the world of manga, where communication mostly takes place in howls of one syllable.
  • Nele Noppe on 17 Mar 09
     
    Oh dear.
Nele Noppe

Japanese Ministry of Foreign Affairs Appoints Trend Communicators of Japanese Pop Cultu... - 0 views

www.mofa.go.jp/...1188515_1152.html

non-academic fashion pop_culture international

shared by Nele Noppe on 04 Mar 09 - Cached
  • The Ministry of Foreign Affairs has therefore decided to give a few young leaders who are conspicuously active in the field of fashion the title “Trend Communicator of Japanese Pop Culture,” commissioning them to conduct PR and other activities, and asking them to extend as much cooperation as possible for cultural projects to be carried out by Japanese embassies abroad and the Japan Foundation.
  • Ms. Shizuka Fujioka: advisor of “CONOMi,” a well-known shop that sells school-uniform-type clothes
Ariane Beldi

Le débat sur la fanfiction relancé ? - Elbakin.net - 5 views

www.elbakin.net/...ebat-sur-la-fanfiction-relance

blog français html textual image professional artist writer fantasy literature genre

shared by Ariane Beldi on 08 May 10 - Cached
  • Ariane Beldi on 08 May 10
     
    Diana Gabaldon (ci-contre) et George R.R. Martin, tous les deux opposés à laisser ce genre de liberté aux apprentis écrivains, viennent en effet de relancer les discussions autour du sujet.
  • ...8 more comments...
  • Ariane Beldi on 08 May 10
     
    This is in French, but it is about a debate on fanfiction, in which authors hold varying views on this phemonemon.
  • Nele Noppe on 10 May 10
     
    In my opinion, they haven't launched a debate so much as joined other commercially published authors such as Anne Rice and Lee Goldberg in endlessly repeating the same extremely wobbly arguments against amateur writing. They misunderstand intellectual property and the creative process in a variety of ways -e.g. by assuming that somebody using a character they created is the same as somebody stealing a physical object, and by labeling their creations 'original' while dismissing fanfic writers as people unable to come up with good ideas of their own. Not impressive at all, but unfortunately, big-name authors decrying the defilement of their creations by supposed thieving amateur pornographers make good media copy :P This post does a rather good rebuttal of the arguments usually raised against fanfic by enumerating commercial works that are just as "derivative" as fic: http://bookshop.dreamwidth.org/999259.html
  • Ariane Beldi on 10 May 10
     
    To tell the truth, I'm not very knowledgeable in this field of copyrights issues. I'm just starting and need to read more. So, when I was tipped about these blog posts by people on Facebook, I thought it might be interesting for you and others. But apparently, from what you're saying, they are just going over and over the same old arguments. I'll check your link and we'll keep it for later thinking. ;-)
  • Ariane Beldi on 10 May 10
     
    It is an excellent post! I love the section about Virgile being a fanboy from Homer! I had to translate and learn Chant 6 of the Aeneid for my final high school exam! She could have added that Dante Alighieri is a huge fanboy of Virgile (he actually considers him as his spiritual master, despite the fact that more than 1000 years separates them both).
  • Nele Noppe on 10 May 10
     
    Oh, it's a very interesting topic -my favourite ;) I'm doing a lot of research on the position of fanworks in cultural production at the moment. IMHO, published authors who rail against fanfic seem to be rather hung-up on an author-as-God idea that is terribly outdated today, has never had much basis in reality in the first place, and does nothing at all to promote creativity. Also, the arguments about the supposed harm fanfic inflicts are just plain silly. There certainly isn't any economic harm (ficcers are your biggest fans and very likely to buy your products and attract new readers), and somebody using your character is not the same as stealing your car because your character remains intact and available to you no matter how many fics are written (or how sexually explicit these fics are). Er, I'm going to stop before I go on a five-page rant. Have some more links: http://nielsenhayden.com/makinglight/archives/007464.html is good and short, as is http://www.kristinabusse.com/cv/research/ip09.html (and many other articles on that site). http://www.tushnet.com/legalfictions.pdf talks about fanfic and copyright in more detail.
  • Ariane Beldi on 10 May 10
     
    Thank you for all these links. I'm keeping them as well!
  • Nele Noppe on 10 May 10
     
    No prob! I'll send more if you're interested (Gabaldon generated a huge amount of intelligent rebuttal posts in the last couple of days), but let me know, I don't want to bury you in readings just because it's my personal favourite ranting topic ;)
  • Ariane Beldi on 10 May 10
     
    Well, that would be with pleasure. I might not be able to read everything through and through immediately, but I'll keep the urls in my Diigo and return to it later. But I'm definitely interested in those issues. I also have a colleague who's into this as well, so I'll forward these resources to her. And she is supposed to write a dissertation about Shakespeare, but she doesn't know what! She feels that everything that could be written about him has been written. Maybe, there would be something for her to dig in these.
  • Nele Noppe on 10 May 10
     
    Maybe your friend would be interested in Elisabeth Woledge? She works for the Shakespeare Birthplace Trust (http://www.shakespeare.org.uk/content/view/428/439/) and has done a lot of work on fanfic, too. She gave a very interesting keynote speech for a fanfic conference last February (abstract here: http://www.mos.umu.se/forskning/cyberekon/symposiumabstracts.htm) in which she discussed Shakespeare as well. I believe the keynote is archived on http://stream.humlab.umu.se/, -search for Woledge and it should come up. As for the Gabaldon issue, you can find a lot of links to discussions about her statements in this post on the Metafandom community: http://www.journalfen.net/community/metafandom/142097.html
  • Ariane Beldi on 10 May 10
     
    Woaw! I'm printing all these references and will bring it to her later this afternoon! We might be able to take a coffee together. I will also of course keep all these links! This is really great! Thank you so much!
Nele Noppe

Bates College: tenure-track position in Japanese and East Asian Studies - 1 views

www.bates.edu/asia.xml

academic popular_culture job_offers

shared by Nele Noppe on 03 Dec 09 - No Cached
  • Nele Noppe on 03 Dec 09
     
    The Asian Studies Program of Bates College, a highly selective private liberal arts college located in south-central Maine, invites applications and nominations for a tenure-track position in Japanese and East Asian Studies to begin in Fall 2010. Ph.D. is preferred but ABD candidates will be considered. A native/near native proficiency in Japanese and English is required. A commitment to teaching language courses, as well as training and experience in Japanese language pedagogy are expected. The Program hopes to appoint a candidate with interests in both contemporary Japan and East Asia. Applicants with expertise in East Asian media, cultural studies, popular culture and/or social issues and Korean studies are invited to apply. Duties include courses in Japanese language and culture and topics that span contemporary East Asia. Review of applications will begin December 14, 2009 and remain open until the position is filled. For more information about Asian Studies at Bates, see our webpage (www.bates.edu/asia.xml). To apply, submit a letter of application, vita, academic transcripts, and three letters of recommendation. Candidates are also invited to submit scholarly manuscripts, course syllabi, teaching evaluations and a statement of teaching philosophy. Send materials to: Japanese Language and East Asian Studies Search Committee R2124 c/o Academic Services Bates College 2 Andrews Road 7 Lane Hall Lewiston, Maine 04240 Bates values a diverse college community and seeks to assure opportunity through a continuing and effective Affirmative Action Program.
  • Ariane Beldi on 04 Dec 09
     
    I went to Bates from 1995-1999 and although I didn't study in the Asian Studies Program, I can only recommend you this small but great liberal-art college if you have an opportunity to go and teach there. Although the weather might be bit tough during the Winter for those who don't like the cold too much, it is a very cosy campus, with great infrastructures, a dynamic community, and really nice people working there. At least, these are the good souvenirs I have from my time there. But I have seen that they have developed a lot of things since I left, especially a strong bend for ecological issues and sustainable development initiatives. They also make it an everyday and personal duty to challenge each other intellectually and you are really required to give the best of you, which I find a very stimulating environment. At the same time, they have a good sense of collaboration, so they are also very supportive if you have good ideas!
Ariane Beldi

SGMS 2011 Call for Papers! - 0 views

schoolgirlsandmobilesuits.com/?p=435

japanese audiovisual entertainment industry cultural studies online archives website english html textual image academic conference scholar article manga anime globalization anthropology sociology theory method fieldwork

shared by Ariane Beldi on 03 May 11 - No Cached
  • Ariane Beldi on 03 May 11
     
    "Ten years ago, the first SGMS had to be delayed because of the tragic event of 9/11, but two months later, seven academics from a variety of disciplines spoke on manga and anime to a crowd of 150 eager fans, academics, and students from junior high to college-aged. Since then, on the last weekend of every September, the expanding community of SGMS artists, actors, teachers, and students have gotten together to celebrate manga, anime and Japanese popular culture. Join us for the SGMS Masquerade Bash on Friday night with the Full Fashion Panic Fashion Show, music, food and costumed frivolities will prevail! Even the guests will be in costume! On Saturday and Sunday, there will be talks by guests Marc Hairston, Crispin Freeman, Thomas LaMarre, Christopher Bolton, Gilles Poitras and Frenchy Lunning. Classes in manga creation by Robert Ten Pas and Dennis Lo, Lolita Fashion creation by Samantha Rei, and more will be held. Watch for the announcement of our VERY SPECIAL GUEST soon!"
Nele Noppe

The Visual Linguist - manga - 0 views

www.emaki.net/...manga.html

non-academic visual_language manga

shared by Nele Noppe on 06 Dec 07 - Cached
  • At most, various sources mention one or two different conventions, but I couldn't find any extensive type of cataloging. (though, if anyone is aware of such a thing, please let me know)I started trying to make a cross-cultural list like this back when I used to have the forum, but that project seems to have stagnated. This is a research project just waiting for someone to take it up (like oh so many)...
  • Underlying message: Graphic systems are not universal
  • one graphic system can influence another one
  • ...4 more annotations...
  • Graphic systems (or rather, human minds that produce graphic systems...) are fluid and changing
  • Multilingualism in visual language!
  • Children are choosing the "manga style" en masse to draw in — a consistent style which is beyond the scope of a single author and belongs instead to a community. Underlying message: Children learn to draw by imitating others
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      is manga style easier to draw in for kids than, say, more realistic superhero style?
  • To this extant, it wholly removes them from the social context in which they usually appear. They did have some actual books on display, though they were kept under glass – meaning people couldn't flip through them at all. Of all print-culture visual languages, manga in Japan seem quite the paradigm example of using a Language over Art context. Seeing them pulled from that context and put into a dominantly Art setting was an interesting clash of these underlying cultural forces.
    • Nele Noppe
      Nele Noppe on 06 Dec 07
       
      emphasize the importance of context, the fact that manga images/signs are meant to be interpreted as part of a whole
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