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Nele Noppe

St. Beeldverhaal Nederland: Waarom boekhandels strips moeten verkopen - 0 views

www.stichtingbeeldverhaal.nl/...els-strips-moeten-verkopen.htm

academic comics education france manga manga_industry united_states

shared by Nele Noppe on 18 Apr 08 - Cached
  • Maar dat is nog niks. In 2002 werden in Japan anderhalf miljard striptitels verkocht. Miljard, geen miljoen. Voor de Volkskrant heb ik wel eens een lang stuk over de manga-economie geschreven en de eindredactie had mijn miljard toen abusievelijk en begrijpelijk veranderd in miljoen, maar dat klopt dus niet. Met die boekverkopen werd 523 miljard yen omgezet. Het stripblad One Piece alleen al heeft een oplage van 2.63 miljoen exemplaren.
  • Nele Noppe on 18 Apr 08
     
    Maar dat is nog niks. In 2002 werden in Japan anderhalf miljard striptitels verkocht. Miljard, geen miljoen. Voor de Volkskrant heb ik wel eens een lang stuk over de manga-economie geschreven en de eindredactie had mijn miljard toen abusievelijk en begrijpelijk veranderd in miljoen, maar dat klopt dus niet. Met die boekverkopen werd 523 miljard yen omgezet. Het stripblad One Piece alleen al heeft een oplage van 2.63 miljoen exemplaren.
Ariane Beldi

AJISS-Commentary-A Growing Love for "Cool Japan" - 3 views

www.jiia.or.jp/...07-1.html

website english html textual professional academic scholar think-tank anime manga convention japanese audiovisual entertainment industry transnationalism globalization cosplay reception audience

shared by Ariane Beldi on 07 Jul 10 - Cached
  • Ariane Beldi on 07 Jul 10
     
    Japan may appear defensive on the economic and political fronts. Has the world lost interest in an aging Japan whose economy will fall to third largest? There is, however, a side of Japan that is the object of ever stronger and deeper affection around the globe: Japanese popular culture, particularly anime (Japanese animation) and manga.
  • Zero Time on 17 Jul 10
     
    True. In America, this seems to be growing. I see less and less of comic books and more manga novels, although manga is part of the Japanese culture. Not only that, but it seems manga is more.. I'm not sure what you can call it, but it has a different feel to it than a comic book, for obvious reasons. It's like comparing a cartoon to an anime. Although their qualitys are alike, they come from different culture and people, etc. Plus, most animes seem a bit more serious than cartoons, but that may be just the particullar shows I'm watching.. ~Z
Nele Noppe

A nightmare of capitalist Japan: Spirited Away - 0 views

www.ejumpcut.org/...text.html

academic anime miyazaki_hayao shinto religion economy cosplay characters technology

shared by Nele Noppe on 22 Jun 09 - Cached
  • "Our old enemy 'poverty' somehow disappeared, and we can no longer find an enemy to fight against" (Miyazaki, 1988). In other words, after Japan's industrial success since the Meiji restoration in 1890s and recovery from WWII cast out poverty from the nation, people still remain possessed by an illusion of gaining a wealthy everyday life and continue living with a gap between their ideal and real life. As a result, an endless and unsatisfying cycle of production and consumption has begun destroying harmony among family and community (Harootunian, 2000).
  • Zizek (1989) points out that people of late capitalism are well aware that money is not magical. To obtain it, it has to be replaced through labor, and after you use it, it will just disappear, as will as any other material. Allison (1996) adds to this point: "They know money is no more than an image and yet engage in its economy where use-value has been increasingly replaced and displaced by images (one of the primary definitions of post-modernism) all the same” (p. xvi).
  • Related to its presentation of the loss of spiritual values, the film elaborates an extensive critique of another contemporary global issue: identity confusion. A symptom of identity loss is seen in the way that cultures today encourage people to constantly refashion their self-image, so that individuals construct their identity based on ideals presented in popular media.
  • ...4 more annotations...
  • Because of the gap between the real and the fantasy, people in late capitalist society become ever more unsatisfied with themselves. Perhaps, that is one of the reasons why people are more and more attracted to anime, where transformation of identity are easily visually accomplished. To illustrate, we may name a few examples from a popular daily life phenomenon among anime fans, called “cosplay.”
  • When you are cosplaying, your identity depends on what others know about the character, not on who you are. Cosplay, therefore, allows the players to change their identity.
  • Miyazaki stresses the importance of having a proper name to warn us against the possibility of losing our identity in the post-modern world. When Chihiro first gets hired by Yubaba, Yubaba alters Chihiro’s name to Sen. Later Haku explains to Chihiro that Yubaba controls people by stealing their names. The plot operates on the premise that if Chihiro forgot her original name, she would forget about her past and never be able to go back to where she was from.
  • Besides Chihiro and Haku, a key character representing identity confusion is No-Face, who has only a shadow-like body and a mask. The mask does not hide his face for he has no face; rather, the mask constructs his outside identity. Since the mask symbolizes a product that people can buy with money, here it indicates an unoriginal identity that people can construct by giving into materialism.
Nele Noppe

Promoting 'Cool Japan' | The Japan Times Online - 3 views

search.japantimes.co.jp/...ed20100815a1.html

non-academic politics pop_culture

shared by Nele Noppe on 16 Aug 10 - Cached
  • Eight years have passed since American journalist Douglas McGray first coined the phrase, but now the Japanese government is getting behind "Cool Japan" in a big way. A new Creative Industries Promotion Office was established in June within the Manufacturing Industries Bureau of the Ministry of Economy, Trade and Industry (METI) to coordinate the promotion of "cultural industries" by various arms of government such as the Agency for Cultural Affairs, METI, and the Ministry of Foreign Affairs.
  • Mr. Kondo believes that the free market was originally a tool for increased prosperity and a richer nonmaterial life, but that it somehow became an end in itself. A task for the 21st century is to move toward a richer spiritual life, and he thinks Japan is in a unique position for that as a non-Western economic power. While a bureaucratic-led push for creativity has its problems, any soft power contribution Japan can make to the world will surely be welcomed, especially if it can also stimulate renewed self-confidence and vitality within Japan itself.
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