Gender and Reading Habits - 0 views
Cost of producing dojinshi - 0 views
Manganovel bites the dust - 0 views
Star Blazers Chronicles: YamatoCon! - 0 views
The Field Study at Comic-Con - 0 views
hiroki azuma portal - 0 views
若者のマンガ購読をめぐる意識と行動 - 0 views
Seminar on Anime and Contemporary Japanese Society - 0 views
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While anime is being watched on a global scale, there are significant differences in its contemporary reception. The gap between regular consumers and critical spectators, sometimes appearing in the form of Japanese audiences vs. foreign Japanologists, deserves special attention since it raises a number of questions, such as what sort of animated film is identified as anime; who relates anime to politics, history and society; what kind of meaning is at play in anime's performative images, and to what extent one can read "Japanese society", or even "culture", out of anime.
Otaku: Japan's Database Animals - 0 views
Otaku Power - Trivia, Desire, and Transformation - 0 views
おたくの起源 - 0 views
Soft Power Hard Truths / American anime fans party, but don't pay - 0 views
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The role of the Internet in cultivating communities without generating profits has been amply addressed. On top of that, producers of Japanese pop media are struggling with outdated and self-destructive business models.
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In a recent interview for pop culture news site ICv2.com, TokyoPop founder and CEO Stuart Levy describes his company's initial strategy in 1998 to harness what he calls "the three C's: content, community and commerce." A decade later, he and others in Japan's U.S.-targeted pop industries have been wildly successful at mastering the first two--content and community--but are struggling mightily to complete the triangle.
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