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Nele Noppe

In Japan, an heroic collapse - 0 views

ftalphaville.ft.com/...in-japan-an-heroic-collapse

non-academic manga economy digital_manga information_manga

shared by Nele Noppe on 23 Feb 09 - Cached
  • SFCG’s chairman, Kenshin Ohshima, a man not known for excessive modesty, had a passion for chronicling - and clearly dramatising - his company’s rise. A long-running online manga, or cartoon, of Ohshima - and SFCG’s - corporate adventures makes the company’s website more popular than most corporate  cyber destinations in Japan.
  • Nele Noppe on 23 Feb 09
     
    company chairman uses manga to chronicle company's story
Nele Noppe

Survey results: should virtual child porn be regulated in Japan? - 0 views

www8.cao.go.jp/...h19-yugai.pdf

academic children sexual_content

shared by Nele Noppe on 22 Apr 08 - No Cached
  • Nele Noppe on 22 Apr 08
     
    The results of the actual survey which is mentioned in several recently saved articles about new child pornography regulations in Japan. In total, 86,4% say that virtual child pornography (left alone by the newly proposed legislation) should be regulated as well. 4,5% did not know, 9,1 said there should be no regulation. The wording of the question seems rather black-and-white: there's no option for 'it should be regulated only to a certain degree'. Regulating virtual pornography -or finding a sound logic for regulating it- still sounds very difficult to me. We don't punish people for depicting fictional murders, either...
Nele Noppe

UNIQLO to Boost Sales of Manga T-Shirts Overseas - 0 views

www.japancorp.net/Article.Asp

fashion manga non-academic

shared by Nele Noppe on 21 Apr 08 - Cached
  • Fast Retailing hopes to boost sales of the manga and anime T-shirts by luring more overseas customers who seek after Japanese pop culture as "Japan Cool."
  • Nele Noppe on 21 Apr 08
     
    Fast Retailing hopes to boost sales of the manga and anime T-shirts by luring more overseas customers who seek after Japanese pop culture as "Japan Cool."
Nele Noppe

St. Beeldverhaal Nederland: Manga als wetenschappelijk onderzoeksobject - 0 views

www.stichtingbeeldverhaal.nl/...index.htm

academic education manga nationalism_ideology

shared by Nele Noppe on 18 Apr 08 - Cached
  • Voor 70% van de eerstejaars van de opleiding Japans is de aantrekkingskracht die uitgaat van manga en anime (Japanse strips en tekenfilms) een belangrijke reden om Japans te gaan studeren.
  • deze media wil gebruiken in het onderwijs. Ze kunnen worden gebruikt als een politiek instrument om mensen te manipuleren. Sinds halverwege de jaren negentig is het medium van de manga uitgegroeid tot een podium waar commentaar wordt geleverd op de situatie in Japan.
Nele Noppe

St. Beeldverhaal Nederland: Handleiding kinderboeken helpt stripverhalen een plek te geven - 0 views

www.stichtingbeeldverhaal.nl/...boeken-helpt-stripverhalen.htm

academic comics education manga manga_industry

shared by Nele Noppe on 18 Apr 08 - Cached
  • Manga strips die in Japan worden verkocht worden genoemd: 150 miljoen exemplaren PER MAAND. Als je dit soort aantallen ziet moet toch iets van interesse ontstaan in dit medium. Waarom en hoe. Gelukkig zijn er dus serieuze teksten over de werking en het gebruik ervan. Educatieve aspecten strips
  • Nele Noppe on 18 Apr 08
     
    Manga strips die in Japan worden verkocht worden genoemd: 150 miljoen exemplaren PER MAAND. Als je dit soort aantallen ziet moet toch iets van interesse ontstaan in dit medium. Waarom en hoe. Gelukkig zijn er dus serieuze teksten over de werking en het gebruik ervan. Educatieve aspecten strips
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

Mimi Ito - Weblog - 0 views

itofisher.com/mito

media anthropology Japan digital pop culture animes mangas video games mimi ito academic

shared by Ariane Beldi on 06 Jan 09 - Cached
  • Ariane Beldi on 06 Jan 09
     
    Mimi Ito is a cultural anthropologist, specialising in new media uses among young people in the US and Japan. Although her interests aren't focused solely on Japanese popular culture (anime, manga, video games, etc.), she definitely include these elements in her researches.
Nele Noppe

British firm scores hit with manga Shakespeare - 0 views

afp.google.com/...M5gM2RBSCV-rIgmCZg5ZVZV4IWEiLQ

information_manga literature manga non-academic

shared by Nele Noppe on 22 Apr 08 - Cached
  • The books have managed to interest a wide audience, with teachers integrating them into their curriculum.Seven works were released in 2007 as part of the "Manga Shakespeare" series -- "Romeo and Juliet", "Hamlet", "The Tempest", "Richard III", "A Midsummer Night's Dream", "Macbeth" and "Julius Caesar".Adaptations of "Othello" and the comedy "As You Like It" are due out in autumn of this year.The books have been a roaring success in Britain, where a new print-run was ordered after the first ran out in six months, while also flying off the shelf in Japan, said Metro Media marketing director Doug Wallace.
  • Nele Noppe on 22 Apr 08
     
    The books have managed to interest a wide audience, with teachers integrating them into their curriculum. Seven works were released in 2007 as part of the "Manga Shakespeare" series -- "Romeo and Juliet", "Hamlet", "The Tempest", "Richard III", "A Midsummer Night's Dream", "Macbeth" and "Julius Caesar". Adaptations of "Othello" and the comedy "As You Like It" are due out in autumn of this year. The books have been a roaring success in Britain, where a new print-run was ordered after the first ran out in six months, while also flying off the shelf in Japan, said Metro Media marketing director Doug Wallace.
Nele Noppe

CFP: From an Intercultural Crossover to a TransculturalPhenomenon: Manga, Comic, Graphic Novel - 0 views

www.diigo.com/...5baf0923d645848efb2a5bd1f1f30a

academic call_for_papers manga comics

shared by Nele Noppe on 16 Jun 09 - Cached
  • CALL FOR PAPERS Title: From an Intercultural Crossover to a Transcultural Phenomenon: Manga, Comic, Graphic Novel International Conference at the Cultural Institute of Japan, Cologne (Japanisches Kulturinstitut Köln, The Japan Foundation), September 30 – October 2, 2010, in cooperation with CITS (Center for Inter- and Transcultural Studies, University of Cologne) Manga, comics and graphic novels are shaped by different cultural codes and shifting visual and narrative conventions. This conference focuses on the historical development and theoretical aspects of comics and manga by stressing their mutual influences. Whereas European and North American art and popular culture exert a great impact on Japanese manga, such as the Franco-Belgian tradition of “ligne claire” on Ōtomo Katsuhiro and Taniguchi Jirō, Walt Disney’s animated films on Tezuka Ōsamu and Christian and Antique ideas on Miyazaki Hayao, Japanese manga influence the concept and visual conventions of modern European and American comics as well, as can be seen in the work by Frédéric Boilet, Moebius, and Frank Miller, among others. Moreover, the intercultural exchange between the Japanese manga tradition and equivalent forms of sequential art in other Asian countries (i.e. China, India, and Korea) largely contributes to the dissemination of new hybrid art forms in the realm of comics and manga. The purpose of this conference is to bring together scholars and other experts of different countries and different fields, i.e. literary studies, picture theory, cultural studies, linguistics, narratology, film studies, and semiotics, who pursue different areas of investigation in this field. In order to adhere to a general outline for this conference, the papers might deal with one or several of the following topics: • Intermedial, intercultural and narrative perspectives for the interpretation of the graphic novel and other genres of sequential art prominent in both comics and manga • Comparative analysis of the construction of time and setting in comics and manga • The functions of color in comics and manga • Similarities and differences between Japanese and other Asian manga and European and North American comics • Impact of wordless comics and manga • Historical development of the mutual influence of comics and manga • Change of the conventional verbal signs (such as speech balloons, sound effects, typography) • Influence of films and cinematic style on the production of comics and manga • Influence of visual codes derived from art history and popular culture in order to create an individual artistic style Contributions from academics and experts interested in any of these areas and in international perspectives are particularly welcome. There are plans to publishing the proceedings of the conference afterwards in book form. The deadline for proposals is: *31 August 2009*. Please email a 300 word abstract (for a thirty minute paper, followed by 15 minutes for discussion) and a short biography as an attached word document to Bettina Kümmerling-Meibauer at: bettina.kuemmerling@t-online.de and Franziska Ehmcke at: amm07@uni-koeln.de Notification of the acceptance of proposals will be made by 30 September 2009. The conference fee will be 120 Euro, including catering, technical equipment, conference folders and various arrangements. The conference venue is located in the Cultural Institute of Japan, not far from the University of Cologne. For details, go to www.jki.de (text in German and Japanese). For further inquiries contact the conference convenors: Bettina Kümmerling-Meibauer Universität zu Köln Institut für deutsche Sprache und Literatur II Gronewaldstr. 2 50931 Köln Germany E-Mail: bettina.kuemmerling@t-online.de Franziska Ehmcke Universität zu Köln Ostasiatisches Seminar (Japanologie) Albertus Magnus-Platz 50923 Köln Germany E-Mail: amm07@uni-koeln.de
Nele Noppe

Workshop on Popular Culture, Cultural Policy, and Cultural Discourse in East and Southeast Asia, June 1-2, 2009, the Hebrew University of Jerusalem - 0 views

www.diigo.com/...283584e4f5eae3ef86360242d0eab0

academic presentations asia manga pop_culture france international manga_research dorama copyright politics anime manga_industry koreachina censorship singapore gender

shared by Nele Noppe on 27 May 09 - Cached
  • Workshop on Popular Culture, Cultural Policy, and Cultural Discourse in East and Southeast Asia, June 1-2, 2009, the Hebrew University of Jerusalem The workshop on Popular Culture, Cultural Policy, and Cultural Discourse in East and Southeast Asia, will be held at the Hebrew University of Jerusalem, Israel. The purpose of this workshop is to conduct a comparative and multi-sited study of the emergence of the popular cultural industries of East and Southeast Asia, examine the corresponding cultural policies initiated by the various states in the region, and construct an empirically-plausible framework to examine related issues. The workshop will particularly focus on the cases of Chinese, Japanese, and Korean poplar cultures: their emergence, expansion to other markets in the region, and the discourse they create. Panel 1: Popular Culture, Regionalization, and the State 1. Amitav Acharya, American University, "Culture, Regionalism and Southeast Asian Identity" 2. Galia Press-Barnathan, the Hebrew University of Jerusalem "Does Popular Culture Matter to International Relations Scholars? Possible Links and Methodological Challenges" 3. Nissim Otmazgin, the Hebrew University of Jerusalem "A Tail that Wags the Dog: Cultural Industry and Cultural Policy in East Asia" Commentator: Arie Kacowicz, the Hebrew University of Jerusalem Panel 2: Cultural Flows and Soft Power 1. Chua Beng Huat, National University of Singapore "Delusional Desire: Soft Power and TV Dramas" 2. Jean Marie Bouissou, Science-Po "From Niche Market to Hypermarkets: The Birth, Growth and Maturation of the French Manga Market" 3. Eldad J. Pardo, the Hebrew University of Jerusalem "The Comeback of Iran's Z $B{ (Brkh $Bb (Bneh: Ancient Heroes in the Global Age" Commentator: Eyal Ben Ari, the Hebrew University of Jerusalem Panel 3: Cultural Policy in the Making 1. Kozuka Souichirou, Sophia University "Copyright Law as a Tool of New Industrial Policy?: Japan's Unsuccessful Attempt to Promote its Contents Industry" 2. Kukhee Choo, Tokyo University of Foreign Studies "Cool Japan Nation: Japanese Governmental Policy towards the Anime Industry" 3. Jung-Yup Lee, University of Massachusetts, Amherst "Managing the Transnational, Governing the National: Cultural Policy and the Politics of "Cultural Archetype Project in South Korea" Commentator: Ehud Harari, the Hebrew University of Jerusalem Panel 4: Cultural Industry and Cultural Discourse 1. Miki Daliot-Bul, Haifa University "The New 'Japan Brand': Cool Japan as Zeitgeist" 2. Pang Laikwan, the Chinese University of Hong Kong "Censorship against Ghosts: China's Cultural Policy Historicized" 3. Kwai Cheung Lo, Hong Kong Baptist University "Historical Tensions in East Asian Popular Culture and the Roles of the State" Commentator: Chua Beng Huat, National University of Singapore Panel 5: Cultural Production and Social Change 1. Marwyn S. Samuels, the Hebrew University of Jerusalem "The Media Industry, Popular Culture and Social Change in Contemporary China" 2. Shin Hyunjoon, Sungkonghoe University "Trans/National Cultural Industries as an Agency of Regionalization? The Case of South Korea" 3. Cherian George, Nanyang Technological University "Silence and Protest in Singapore's Censorship Debates" Commentator: Nir Avieli, Ben-Gurion University Panel 6: A Comparative Perspective: Popular Culture in the Middle East 1. Wael Abu-Uksa, the Hebrew University of Jerusalem "State and New Media in the Middle East: An Overview" 2. Sariel Birnbaum, the Hebrew University of Jerusalem "Historical Audio-Visual Dramas: From Egyptian Dominance to a Pan-Arab Satellite Discourse" 3. Tal Shenhav, the Hebrew University of Jerusalem "Broadcasting the Future Generation: Gender Messages for Women and Youth in Saudi Arabia, Jordan and Tunisia" Panel 7: Concluding Comments and Open Discussion Peter J. Katzenstein, Cornell University Eyal Ben Ari, the Hebrew University of Jerusalem For further information and registration please contact Dr. Nissim Otmazgin at nissimot@mscc.huji.ac.il
Ariane Beldi

Japan Makes English Evangelion Tourism Map, Poster - Anime News Network - 1 views

www.animenewsnetwork.com/...-evangelion-tourism-map-poster

online magazine english html textual images articles fans publics anime manga Japanese audiovisual entertainment industry transnationalism tourism

shared by Ariane Beldi on 08 Feb 10 - Cached
  • Ariane Beldi on 08 Feb 10
     
    Rei Ayanami as a tourist guide into "Cool Japan".... She definitely is put through the mill, poor girl! ;-)
Nele Noppe

Moe and the Potential of Fantasy in Post-Millenial Japan - 2 views

www.japanesestudies.org.uk/...Bryce.html

academic manga anime moe fans characters romance sexuality games kawaii zoomorphism affect emotion visual_language boys_love dojinshi

shared by Nele Noppe on 11 Mar 10 - Cached
  • If kawaii, or the aesthetic of cute, is the longing for the freedom and innocence of youth, manifesting in the junior and high school girl in uniform (Kinsella 1995), then moe is the longing for the purity of characters pre-person, manifesting in androgynous semi and demi human forms. This is called 'jingai,' or outside human, and examples include robots, aliens, dolls and anthropomorphized animals, all stock characters in the moe pantheon. A specific example would be nekomimi, or cat-eared characters. More generally, in order to achieve the desired affect, moe characters are reduced to tiny deformed 'little girl' images with emotive, pupil-less animal eyes
  • I argue fantasy characters offer virtual possibilities and affect
  • Moe is also used by fujoshi, zealous female fans of yaoi, a genre of manga featuring male homosexual romance. However, the word moe indicates a response to fantasy characters, not a specific style, character type or relational pattern. While some things are more likely than others to inspire moe, this paper will focus mainly on the response itself rather than the forms that inspire it.
  • ...43 more annotations...
  • Both otaku and fujoshi
  • The moe character is a 'body without organs' (Deleuze and Guattari 1987), and the response to its virtual potentials is affect.
  • Massumi argues affect is a moment of unformed and unstructured potential (Massumi 2002). The experience, what he calls an 'intensity,' is outside of logical language and conscious control. Moe provides a word to express affect, or to identify a form that resonates and can trigger an intensity.
  • It is for this reason that moe is consistently misunderstood as first and foremost images of young girls instead of a response to virtual potentials
  • In the field interacting with otaku and fujoshi, I was constantly confronted by the concept of moe, and found it necessary to engage it.
  • These are both men and their discourse centers on male otaku, but I will argue from them a more general theory, applied later in the paper to fujoshi structures of desire.
  • Honda, a youth-oriented novelist and self-styled moe critic, defines moe as 'imaginary love'
  • the salient point is his judgment that a relationship with a mediated character or material representations of it is preferable to an interpersonal relationship.
  • the moe man is feminized
  • While recognizing the conservative nature of otaku sexuality, Azuma attempts to account for the schizophrenic presence of perversion in the moe image. For Azuma, otaku are postmodern subjects with multiple personalities engendered by their environment and enthusiastic media consumption
  • To feel moe for all characters in all situations, the narrative connecting characters or moments in time is de-emphasized.
  • cat ears,
  • response is unconnected with 'reality' and thus offers new potentials to construct and express affects.
  • Separating their desire from reality allowed for a new form of affect called moe.
  • Simply stated, moe is about unbounded potential.
  • Moe is affect in response to fantasy forms that emerged from information-consumer culture in Japan in the late stages of capitalism.
  • conditioning of young girls into 'pure consumers'
  • Such a space is disconnected from social and political concerns, and exists for the preservation of the individual.
  • the media and consumption feeding into moe is a specific sort centered on affect.
  • Manga scholar Itou Gou argues that since the end of the 1980s characters in anime, manga and videogames became so appealing that fans desired them even without stories (Itou 2005). Ito dubs such character types 'kyara,' distinct from characters (kyarakutaa) embedded in narratives.
  • Proof of this can be found in the rise of 'parody' doujinshi,
  • The doll-like and semi-human Ayanami became the single most popular and influential character in the history of otaku anime; fans still isolate parts of the character to amplify and rearticulate in fan-produced works to inspire moe.
  • In works featuring these characters, the original work functions as a starting point, and the extended process of producing and consuming moe takes place among fans in online discussions and videos, fan-produced comics (doujinshi), costume roleplay (cosplay) and figures.
  • virtual potentiality
  • That the moe form, the body without organs, is outside personal and social frames is precisely why it triggers affect.
  • 'moe otaku' a superficial fixation on surfaces and accelerated consumption of disposable moe kyara, impetus for him to declare this younger generation culturally 'dead'
  • One man I spoke with said, 'Moe is a wish for compassionate human interaction. Moe is a reaction to characters that are more sincere and pure than human beings are today.' Similarly, another man described moe as 'the ultimate expression of male platonic love.' This, he said, was far more stable and rewarding than 'real' love could ever be. Manga artist Akamatsu Ken stresses that moe is the 'maternal love' (boseiai) latent in men,[xxi] and a 'pure love' (junsui na ai) unrelated to sex, the desire to be calmed when looking at a female infant (biyoujo wo mite nagomitai) (Akamatsu 2005). 'The moe target is dependent on us for security (a child, etc.) or won't betray us (a maid, etc.). Or we are raising it (like a pet)' (Akamatsu 2005). This desire to 'nurture' (ikusei) characters is extremely common among fans. Further, moe is about the moment of affect and resists changes ('betrayal') in the future, or what Akamatsu refers to as a 'moratorium' (moratoriamu). Moe media is approached as something of a sanctuary from society (Okada 2008), and as such is couched in a discourse of purity.
  • I will now demonstrate how it is further possible to reduce people to characters, or to reduce reality to fantasy in pursuit of moe.
  • Association with the two-dimensional world, and lack of depth or access in the three-dimensional world, makes a maid moe.[
  • The appeal of the maid cannot purely be sexual: As many as 35 per cent of customers are women
  • this arose in Japan in the late stages of capitalism as a result of shifts in consumer-information society
  • bias towards male fans of anim
  • aoi erases the female presence because fans say female-male or even female-female couples[xxxvi] are too 'raw' (namanamashii). Put another way, the reality of relationships is removed from yaoi to make the moe response possible.
  • the ambiguous yaoi 'male' is quite literally a body without organs
  • Many other fujoshi I spoke with dated men even as they imagined possibilities of coupling them as characters with other men.[xl] As Saitou points out, the reality of heterosexual relationships and virtual possibilities of homosexual couplings are separate and coexistent (Saitou 2007). Journalist Sugiura Yumiko explains this as the crucial difference between fujoshi and otaku, who approach fantasy as an alternative for things that they actually want but cannot realize in this world (Sugiura 2006).[xli] A fujoshi, for example, would not 'marry' a two-dimensional character the way some otaku advocate;
  • Sugiura is importantly highlighting that fantasy and reality are separate and coexistent, but this is widespread in moe culture and not solely a female quality.[xlii] As much as male otaku boast of their two-dimensional wives, they often do so with levity as a self-conscious performance
  • While it is true that men tend to feel moe for single characters that they can possess while women feel moe for relationships or character couplings, this broad difference is fast disappearing. In truth, the media popular among so-called 'moe otaku' in recent years has come to resemble yaoi aesthetics: multiple girls in a nostalgic or fantastic world with minimal male presence and heightened emphasis on relationships and emotions
  • In all cases, the database (Azuma 2009) is present. The elements that constitute and indicate a certain type of top or bottom, for example glasses or hairstyle or height, are predetermined; any given top or bottom is a construct of defined character traits and behavior.
  • One of the most recognizable features of the moe phenomenon is the anthropomorphization of objects into objects of desire. Otaku turn cats, war machines, household appliances and even men of historical significance into beautiful little girls to trigger moe. Reality is flattened, and from it emerge polymorphous forms of stimulation. Similarly, fujoshi can rearticulate anything into beautiful boys and sexualized yaoi relations. Moe characters can be based on a written description or drawn image, a physical person or even anthropomorphized animals, plants and objects.
  • The erotic fantasy effectively re-mystified their world, adding a layer of potential to the mundane (the very ground under their feet!) and making the familiar queer and exciting. Latent potential so unlocked, the three friends replayed the moe relationship across other potential players such as shampoo and conditioner, knife and spoon, salt and pepper.
  • More startling and subversive is 'moe politics' (seiji moe), where national histories, international relations and imposing world leaders are reduced to moe characters across which yaoi romance can be read.
  • It should be noted that Hetaria was written by a man, and these sorts of stories are becoming increasingly popular among young men known as 'fudanshi' (rotten boys).
  • it precisely because it is pure that it can give birth to such perverse and polymorphous possibilities.
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"
Ursaring93 _

Japan's manga artists angry over sex and violence ban - Telegraph - 3 views

www.telegraph.co.uk/...over-sex-and-violence-ban.html

anime japan culture Japanese culture animation art censorship

shared by Ursaring93 _ on 16 Mar 10 - Cached
  • Nele Noppe on 19 Mar 10
     
    The Tokyo Assembly has just voted to carry over deliberation on the proposed law to the June session. Apparently the free speech concerns are being taken seriously. http://internet.watch.impress.co.jp/docs/news/20100319_355763.html
Ariane Beldi

asahi.com（朝日新聞社）：English・ニュース - 4 views

www.asahi.com/...cooljapan.html

online newspaper english textual html professional journalist article cool japan transnationalism japanese audiovisual entertainment industry high-tech modernity

shared by Ariane Beldi on 07 Apr 10 - Cached
  • Ariane Beldi on 07 Apr 10
     
    I just discovered that Asahi.com has a "Cool Japan" section, dealing with everything related to the various representations of Japanese modernity. These include both Western fantasy about present day Japan and Japanese self-projection into the world.
Nele Noppe

SOFT POWER HARD TRUTHS / 'Cool Japan' no longer cuts it - 1 views

www.yomiuri.co.jp/...20100514TDY12T04.htm

non-academic anime manga internet fans international video manga_industry

shared by Nele Noppe on 17 May 10 - Cached
  • "Creating an Internet presence is about cultivating a two-way relationship with the user," says Vince Shortino, Representative Director of Crunchyroll's Japan office. "The old model of neglecting content on a one-way video sites has become less and less effective." One-way content delivery is over. Tell that to cool Japan. Fast.
Ariane Beldi

The Dragon and the Dazzle: Japanese Imagination in Italy - Marco Pellitteri - 1 views

www.sainsbury-institute.org/...third-thursday-lecture.html

website english html textual institution academic social sciences japan studies anime manga marco pellitteri japanese audiovisual entertainment industry globalization

shared by Ariane Beldi on 16 Jan 11 - No Cached
  • Ariane Beldi on 16 Jan 11
     
    Every Third Thursday of the month, the Sainsbury Institute hosts a lecture on a topic related to the art and culture of Japan. Talks begin at 6pm (50-minute lecture followed by refreshments). Speakers are all specialists in their field and the talks are intended to be accessible to those with no prior knowledge of Japanese history. Admission is free and all are welcome. Booking essential. To book a seat email us at sisjac@sainsbury-institute.org or fax 01603 625011 up to two days before the lecture stating your name, number of seats required and a contact number. Unless indicated otherwise the lectures are held at the Norwich Cathedral Hostry (Weston Room), Norwich NR1 4EH.
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!
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