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Nele Noppe

Contesting Traumatic War Narratives: Space Battleship Yamato and Mobile Suit Gundam - 1 views

www.bookdepository.co.uk/...Imagining-the-War-in-Japan

academic anime war military nationalism_ideology cyborgs_robots

shared by Nele Noppe on 23 Mar 10 - Cached
  • Nele Noppe on 23 Mar 10
     
    By William Ashbaugh, in "Imag(in)ing the War in Japan: Representing and Responding to Trauma in Postwar Literature and Film"
Ariane Beldi

JS17_penney.pdf (application/pdf Object) - 1 views

www.dijtokyo.org/...JS17_penney.pdf

website textual pdf english academic paper scholar animes manga theory social sciences sociology cultural studies transnationalism

shared by Ariane Beldi on 29 Oct 09 - Cached
  • Ariane Beldi on 29 Oct 09
     
    Diverse depictions of the WWII German army exist in Japanese popular culture. This essay will explore the origins of the Japanese fandom devoted to German military technology and also the way that authors have (re)produced stereotypes related to German culture and traditions in their portrayals of wartime Germany. Finally, using examples by authors Tezuka Osamu and Aramaki Yoshio, this essay will identify the representation of both Japanese and German war crimes in Japanese manga and popular fiction as a significant discursive trend that calls into question assumptions about anti-war thought in contemporary Japan.
Nele Noppe

About the word manga - 15 views

Sorry for the late reply! Yes, I don't think it's very useful to try and draw conclusions about manga based on some aspect of Hokusai's work. Hokusai may have made the word "manga" famous, but his ...

manga meaning

started by Claudia Márquez on 28 Aug 09 5 follow-ups, last by Nele Noppe on 07 Sep 09
Nele Noppe

JapanFocuWho is Responsible? The Yomiuri Project and the Enduring Legacy of the Asia-Pa... - 0 views

japanfocus.org/...2455

academic manga film literature war nationalism_ideology

shared by Nele Noppe on 23 Mar 09 - Cached
  • In the 1950s and 1960s, war responsibility was debated not only in such academic works, but also in massively popular novels and films such as Gomikawa Jumpei’s Ningen no Joken [The Human Condition], which appeared in novel, movie and manga form, and included graphic representations of acts of brutality committed by members of the Japanese armed forces in China. [3]
Ariane Beldi

MIT Visualizing Cultures - 0 views

ocw.mit.edu/...index.html

website english flash html textual image video academic scholar institution visual culture anthropology social sciences history humanities online archives

shared by Ariane Beldi on 19 Nov 10 - Cached
  • Ariane Beldi on 06 Dec 10
     
    "Visualizing Cultures was launched at MIT in 2002 to explore the potential of the Web for developing innovative image-driven scholarship and learning. The VC mission is to use new technology and hitherto inaccessible visual materials to reconstruct the past as people of the time visualized the world (or imagined it to be). Topical units to date focus on Japan in the modern world and early-modern China. The thrust of these explorations extends beyond Asia per se, however, to address "culture" in much broader ways-cultures of modernization, war and peace, consumerism, images of "Self" and "Others," and so on."
Nele Noppe

Cleansing history, cleansing Japan: Kobayashi Yoshinori's Analects of War and Japan's r... - 2 views

www.nissan.ox.ac.uk/...nops35.pdf

academic kobayashi_yoshinori manga nationalism_ideology war

shared by Nele Noppe on 06 Dec 07 - No Cached
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.
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