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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!
Nele Noppe

Of Otakus and Fansubs - 0 views

www.law.ed.ac.uk/...hatcher.asp

academic anime copyright fans fansubbing internet

shared by Nele Noppe on 06 Dec 07 - 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.
  • The Japanese legal system may also, as a practical matter, discourage litigation towards fansub groups within Japan,
  • 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.
  • 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.
Ariane Beldi

White Rose Studentships (2009-2010) - 0 views

www.shef.ac.uk/...jrayner.html

white_rose_studentships japanese_cinema japan hollywood

shared by Ariane Beldi on 06 Apr 09 - Cached
  • Ariane Beldi on 06 Apr 09
     
    Although manga and animes aren't mentioned in the outline of this research project, it is certainly comprehended in the field being investigated, which is Japanese cinema. After all, animation is such an important element of Japanese audiovisual entertainment that it might be worth to propose topics about it.
  • Ariane Beldi on 06 Apr 09
     
    Widescreen aesthetics and technologies have been analysed almost exclusively in relation to American cinema practices. The proposed studentship will redress this imbalance by offering an in-depth analysis of the adoption, development, use and interpretation of widescreen cinema by Japanese studios and significant filmmakers. The 'mixed' nature of this area of Japanese film production will be apparent in comparisons drawn between Hollywood and Japanese productions and technologies, and the emergence of a culturally-specific response to the representational qualities of the widescreen frame.
Craig Norris

Call for papers: PopCAANZ: The Popular Culture Association of Australia and New Zealand - 0 views

POPCAANZ 2nd Annual International Conference June 29-July 1, 2011 | The Langham Hotel, Auckland, New Zealand Call for Papers - deadline for submissions: January 30, 2011 The Popular Culture Assoc...

academic manga anime

started by Craig Norris on 13 Jan 11 no follow-up yet
Nele Noppe

Japanese art, culture and society symposia - 0 views

cjournal.concordia.ca/...se_art_culture_and_society.php

academic presentations anime manga art visual_language

shared by Nele Noppe on 22 Apr 09 - Cached
  • For two Fridays in a row, researchers discussed the impact of popular Japanese culture on society and art in two separate, but related, symposia. Host of the March 6 symposium, Satoshi Ikeda (left) talks with Marc Steinberg, who spoke on anime figurines and art during the March 13 symposium. Currently a post-doc at McGill, Steinberg will join the Faculty of Fine Arts this summer. The March 6 event took a sociological perspective, while the March 13 event explored the impact of anime and manga on contemporary artistic practice.
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