世界における日本のマンガ(下・欧米編) - 0 views
Allons Gai: Be-Boy magazine in French « A Face Made for Radio: Helen McCarthy... - 0 views
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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.
Economic competitive advantage and cultural exports: how Japan got round cultural dista... - 0 views
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H-JAPAN April 5, 2009 From: David Slater <d-slater@sophia.ac.jp> Graduate Fieldwork Workshop April 18th, 2009 Sophia University (Yotsuya Campus) http://www.fla.sophia.ac.jp/about/location.html Bldg. #10, room 301 10 am-noon ----------------------------------------------------------------------------------------------- Title: Economic competitive advantage and cultural exports: how Japan got round cultural distance to claim global leadership in comic book publishing. Julien Vig (Sociology MSc candidate at Hitotsubashi University and research student at the Institute of Innovation Research) ABSTRACT: Since the 1990s, the joint influences of nation branding efforts and the increasing globalization of the economic and technological contexts within which media organizations operate have brought upon an era where America's dominant position as an exporter of contents is becoming increasingly challenged by new entrants, often industrial consortia backed by state agencies. Serious contenders may include India's Bollywood movies, Brazil's telenovelas, or South Korea's array of dynamic entertainment industries. Yet beyond the cultural significance of the phenomenon, their actual export performance only qualifies them as cultural niches when compared to the incumbent transnational American corporations, whose distribution monopolies and market power make their economic control of global flows a reality that remains hardly escapable. Japan, however, distinguished itself by securing global leadership in no less than three content industries. In videogames, animation and comic books, it stands out a leading exporting country, boasting impressive trade surpluses with America and Europe. There is a solid, established interdisciplinary body of international literature dedicated to Japan's videogame industry, and the anime industry has been similarly attracting increasing attention in the past ten years. The comic book industry on the other hand, arguably because of its limited legitimacy and economic significance outside the $4bn+ Japanese domestic market, remains largely understudied except for comic book and popular culture scholars. An overlooked specificity of the comic book industry stems from the most peculiar pattern of globalization it has experienced. From the 1950s onwards, the United States, France and Japan each developed their own publishing paradigm and standard formats: *comic book*, *album* and *manga*. These path-dependent creative and industrial trajectories would hardly interact until the second half of the 1990s. After their late encounter, Japanese manga emerged as the undisputed winner, reaching shares of about 1/3 of total comic book sales in value in both France and America in 2007. This achievement has interesting theoretical implications. On the one hand, media scholars showed that the primary vehicles for the development of * contra-flows* (defined as non-Western media flows which counter the previously established one-way information flow from western to non-west countries) are geographic, cultural or linguistic regionalism; yet this framework cannot account for how Japanese manga could succeed in Western markets, as none of the above patterns seems to apply. On the other hand, management scholars, in the dominant models of firm- and industry-level internationalization, accept as a prerequisite that agents are actively and strategically trying to internationalize; yet Japanese manga publishers long maintained a passive attitude towards market expansion outside of Asia. Drawing upon fieldwork in France and Japan, international comparisons of industry data and evidence from a consumer survey conducted in France in December 2008, my research aims to uncover the economics at work behind the success of Japanese manga on the global comic book scene. What are the conditions for the emergence of sustainable contra-flows? The study of Japan's prominent success in exporting domestic contents may hold the answer to this question and provide a blueprint for later entrants in the global cultural market. -- David H. Slater, Ph.D. Faculty of Liberal Arts Sophia University, Tokyo The Sophia server rejects emails at times. Should your mail to me get returned, please resend to: dhslater@gmail.com. Sorry for the inconvenience.
OEL manga: That Old "Authentic" Debate - 0 views
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As someone who was in the trenches at the start of this trend, as an editor, and later as a writer, I’d like to say once and for all that OEL was most certainly not coined by Tokyopop. Tokyopop just called all of its works “manga.” The company’s line was/is not to have a distinction in classification between books created in Japan, Korea, Europe or the Americas. “OEL” was first coined, if I remember correctly, by the folks on the Anime on DVD manga forums, as many folks didn’t like (and still don’t like) Tokyopop’s blanket usage of the term.
Call for papers: The Blackwell Companion to the Historical Film - 0 views
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Call for Contributions The Blackwell Companion to the Historical Film Editors: Robert A Rosenstone, California Institute of Technology Constantin Parvulescu, Washington University in St Louis The editors invite contributions to The Blackwell Companion to Historical Film, a volume of 25 to 30 essays devoted to the latest scholarship on the origins, contributions, history, range, codes, strategies, poetics, politics, tropes, production, packaging, and cultural impact of this important genre, the dramatic historical feature film. The Companion will be a major work which will survey the field as it exists today and also be suitable as a textbook for history-on-film and film-studies classes. The collection focuses only on feature films, and will include essays by both leading and emerging scholars in the fields of history, cinema studies, cultural studies, and other fields that have something to offer this inherently interdisciplinary topic. Scholars such as Robert Burgoyne, Marcia Landy, and Catherine Portugues, Paula Rabinowitz, Alison Landsberg, Denise Youngblood, and Guy Westwell have already committed themselves to essays for the volume. We are currently seeking essays on particular topics, but scholars interested in contributing to the collection need not limit themselves to these themes but should feel free to suggest anything related to the genre of the historical film: • American history (especially 18 and 19th centuries) on film • African-American and American-Indian history on film • Exile and diaspora historical films • Cinematic adaptations of historical novels • Minor histories and minor heroes on film • The historical film and the national mythology (outside Europe) • History on film and history on other media, including animation • Production and marketing of historical films Those who wish to contribute should send a working title, a brief description of the proposed essay and a short bio to both editors: rr@hss.caltech.edu and ctparvulescu@gmail.com. Essays are to be between 8,000 and 10,000 words long; they will be due on March 1, 2011. Abstracts submission deadline: May 1, 2010.
Underground Manga Find A Home in France - 2 views
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The Ankama Group has announced their plans to move deeper into comics publishing, specifically manga publishing, with an initiative to kick off January 2011. Ankama, the Roubaix, France-based developer and publisher of comics, games, and cartoons in the DOFUS and Wakfu universes, has always maintained a sensitive if not sentimental connection to the visual and narrative disposition of manga artwork. Now, the group will put their passions for underground Japanese comics and art to healthy use by publishing a manga anthology, Akiba. The monthly collection presently aims to print the works of young or new Japanese manga-ka for consumption by French-speaking comics enthusiasts.
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