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This inaugural volume on anime and manga engages the rise of Japanese popular culture through game design, fashion, graphic design, commercial packaging, character creation, and fan culture. Promoting dynamic ways of thinking, along with a wealth of images, this cutting-edge work opens new doors between academia and fandom.
After decades in which American popular culture dominated global media and markets, Japanese popular culture—primarily manga and anime, but also toys, card and video games, and fashion—has exploded into a worldwide phenomenon. From Pokémon and the Power Rangers to Paranoia Agent and Princess Mononoke, Japanese popular culture is consumed by an eager and exponentially increasing audience of youths, teenagers, and adults. Mechademia, a new annual edited by Frenchy Lunning, begins an innovative and fresh conversation among scholars, critics, and fans about the complexity of art forms like Superflat, manga, and anime. The inaugural volume, Mechademia 1 engages the rise of Japanese popular culture through game design, fashion, graphic design, commercial packaging, character creation, and fan culture. Promoting dynamic ways of thinking, along with state-of-the-art graphic design and a wealth of images, this cutting-edge work opens new doors between academia and fandom.The premiere issue features the interactive worlds that anime and manga have created, including the origins of cosplay (the manga and anime costume subculture), Superflat, forgotten images from a founding manga artist, video game interactivity, the nature of anime fandom in America, and the globalization of manga. Contributors: Anne Allison, Duke U; William L. Benzon; Christopher Bolton, Williams College; Vern L. Bullough, California State U, Northridge; Martha Cornog; Patrick Drazen; Marc Hairston; Mari Kotani; Thomas LaMarre; Antonia Levi, Portland State U; Thomas Looser, NYU; Susan Napier, U of Texas, Austin; Michelle Ollie; Timothy Perper; Sara Pocock; Brian Ruh; Takayuki Tatsumi, Keio U, Tokyo; Toshiya Ueno, Wako U, Tokyo; Theresa Winge, U of Northern Iowa; Mark J. P. Wolf, Concordia U; Wendy Siuyi Wong, York U.Frenchy Lunning is professor of liberal arts at the Minneapolis College of Art and Design.
Passionate fans of anime and manga, known in Japan as otaku and active around the world, play a significant role in the creation and interpretation of this pervasive popular culture. Routinely appropriating and remixing favorite characters, narratives, imagery, and settings, otaku take control of the anime characters they consume. Fanthropologies—the fifth volume in the Mechademia series, an annual forum devoted to Japanese anime and manga—focuses on fans, fan activities, and the otaku phenomenon. The zones of activity discussed in these essays range from fan-subs (fan-subtitled versions of anime and manga) and copyright issues to gender and nationality in fandom, dolls, and other forms of consumption that fandom offers. Individual pieces include a remarkable photo essay on the emerging art of cosplay photography; an original manga about an obsessive doll-fan; and a tour of Akihabara, Tokyo's discount electronics shopping district, by a scholar disguised as a fuzzy animal. Contributors: Madeline Ashby; Jodie Beck, McGill U; Christopher Bolton, Williams College; Naitō Chizuko, Otsuma U; Ian Condry, Massachusetts Institute of Technology; Martha Cornog; Kathryn Dunlap, U of Central Florida; Ōtsuka Eiji, Kobe Design U; Gerald Figal, Vanderbilt U; Patrick W. Galbraith, U of Tokyo; Marc Hairston, U of Texas at Dallas; Marilyn Ivy, Columbia U; Koichi Iwabuchi, Waseda U; Paul Jackson; Amamiya Karin; Fan-Yi Lam; Thomas Lamarre, McGill U; Paul M. Malone, U of Waterloo; Anne McKnight, U of Southern California; Livia Monnet, U of Montreal; Susan Napier, Tufts U; Kerin Ogg; Timothy Perper; Eron Rauch; Brian Ruh, Indiana U; Nathan Shockey, Columbia U; Marc Steinberg, Concordia U; Jin C. Tomshine, U of California, San Francisco; Carissa Wolf, North Dakota State U.
If the source of manga and anime is physically located in Japan, the temptation for many critics and scholars is to ask what aspects of Japanese culture and history gave rise to these media. This ninth volume of Mechademia—an annual collection of critical work on anime and manga—challenges the tendency to answer the question of origins by reductively generalizing and essentializing “Japaneseness.” The essays brought together in Mechademia 9 lead us to understand the extent to which “Japan” might be seen as an idea generated by anime, manga, and other texts rather than the other way around. What is it that manga and anime produce that no other medium can precisely duplicate? Is anime its own medium or a genre of animation—or something in between? And how must we adapt existing critical modes in order to read these new kinds of texts? While the authors begin with similar questions about the roots of Japanese popular culture and media, they invoke a wide range of theoretical work in the search for answers, including feminist criticism, disability studies, poststructuralist textual criticism, postcolonialism, art history, film theory, phenomenology, and more. Richly provocative and insightful, Mechademia 9 both enacts and resists the pursuit of fixed starting points, inspiring further creative investigation of this global artistic phenomenon. Contributors: Stephen R. Anderson; Dale K. Andrews, Tohoku Gakuin U; Andrew Ballús; Jodie Beck; Christopher Bolton, Williams College; Kukhee Choo, Tulane U; Ranya Denison, U of East Anglia; Lucy Fraser; Fujimoto Yukari, Meiji U, Japan; Forrest Greenwood; Imamura Taihei; Seth Jacobowitz, Yale U; Kim Joon Yang; Thomas Lamarre, McGill U; Margherita Long, U of California, Riverside; Matsumoto Nobuyuki, Tokyo National Museum; Laura Miller, U of Missouri–St. Louis; Alexandra Roedder; Paul Roquet, Stanford U; Brian Ruh; Shun’ya Yoshimi, U of Tokyo; Alba G. Torrents.
Born of Japan's cultural encounter with Western entertainment media, manga (comic books or graphic novels) and anime (animated films) are two of the most universally recognized forms of contemporary mass culture. Because they tell stories through visual imagery, they vault over language barriers. Well suited to electronic transmission and distributed by Japan's globalized culture industry, they have become a powerful force in both the mediascape and the marketplace.This volume brings together an international group of scholars from many specialties to probe the richness and subtleties of these deceptively simple cultural forms. The contributors explore the historical, cultural, sociological, and religious dimensions of manga and anime, and examine specific sub-genres, artists, and stylistics. The book also addresses such topics as spirituality, the use of visual culture by Japanese new religious movements, Japanese Goth, nostalgia and Japanese pop, "cute" (kawali) subculture and comics for girls, and more. With illustrations throughout, it is a rich source for all scholars and fans of manga and anime as well as students of contemporary mass culture or Japanese culture and civilization.
The groundbreaking Mechademia book series is reborn as a biannual journal. Mechademia: Second Arc expands its focus from Japan to Asia and beyond, covering professional and fan-created works influenced by the forms of anime, Japanese manga/Korean manhwa/Chinese manhua, cinema, television dramas, digital media, video gaming, music, performance arts, and many other forms of popular culture that have proliferated in East Asia and throughout the world. The inaugural issue, "Childhood," explores the profundities of that experience, considering it from angles ranging from metaphor to marketing strategy to lived, mediated reality. Contributors include Honda Masuko, Sandra Annett, Brent Allison, Sharalyn Orbaugh, Okabe Tsugumi, Itô Gô, Mia Lewis, Ana Matilde Sousa, and Leticia Andlauer.
From fan-subs to cosplay, exploring the fan cultures inspired by anime and manga.
The cinema of Japan predates that of Russia, China, and India, and it has been able to sustain itself without outside assistance for over a century. Japanese cinema's long history of production and considerable output has seen films made in a variety of genres, including melodramas, romances, gangster movies, samurai movies, musicals, horror films, and monster films. It has also produced some of the most famous names in the history of cinema: Akira Kurosawa, Hayao Miyazaki, Beat Takeshi, Toshirô Mifune, Godzilla, The Ring, Akira, Rashomon, and Seven Samurai. The Historical Dictionary of Japanese Cinema is an introduction to and overview of the long history of Japanese cinema. It aims to provide an entry point for those with little or no familiarity with the subject, while it is organized so that scholars in the field will also be able to use it to find specific information. This is done through a detailed chronology, an introductory essay, and appendixes of films, film studios, directors, and performers. The cross-referenced dictionary entries cover key films, genres, studios, directors, performers, and other individuals. This book is an excellent access point for students, researchers, and anyone wanting to know more about Japanese cinema.
“Japan's pop culture, once believed unexportable, is now hitting the shores of other nations like a tsunami. In North America, young fans consume vast amounts of manga and anime, while academics increasingly study the entire J-pop phenomenon to understand it. One community has passion while the other has discipline, and what has been lacking is a bridge between the two. Mechademia is the bridge, and with a name like that, how can one go wrong? So why wait? Hop in your giant mobile suit and stomp down to the local real or virtual bookstore to purchase a copy right now!” —Frederik L. Schodt, author of Manga! Manga! The World of Japanese Comics Networks of Desire—the second volume in the Mechademia series, an annual forum devoted to critical and creative work on Japanese anime, manga, and the fan cultures that have coalesced around them—explores the varieties of desire that structure and influence much of contemporary anime and manga in manifestations that range from the explicitly sexual to more sublimated text and imagery. Collecting original essays by scholars, artists, and fans, Networks of Desire considers key issues at play in a Japanese society increasingly uncertain of its place in a globalized world: from idealized representations of same-sex desire in such shjo manga (girls’s comics) as The Rose of Versailles, to fan fiction inspired by the gender-switching manga Ranma ½, to desire in otaku communities. Deftly weaving together desire and discourse, Mechademia 2 illuminates the techno-carnal fantasies, animalistic consumption, political nostalgia, and existential hunger underlying the most popular and influential expressions of Japanese popular culture today. Contributors: Brent Allison, U of Georgia; Meredith Suzanne Hahn Aquila; Hiroki Azuma; William L. Benzon; Christopher Bolton, Williams College; Martha Cornog; Patrick Drazen; Marc Hairston, U of Texas, Dallas; Mari Kotani; Shu Kuge, Penn State U; Margherita Long, U of California, Riverside; Daisuke Miyao; Hiromi Mizuno, U of Minnesota; Mariana Ortega; Timothy Perper; Eron Rauch; Trina Robbins; Brian Ruh, Indiana U; Deborah Shamoon, U of Notre Dame; Masami Toku, California State U, Chico; Keith Vincent, NYU. Frenchy Lunning is professor of liberal arts at the Minneapolis College of Art and Design and editor of Mechademia 1: Emerging Worlds of Anime and Manga (Minnesota, 2006).
In Media Heterotopias Hye Jean Chung challenges the widespread tendency among audiences and critics to disregard the material conditions of digital film production. Drawing on interviews with directors, producers, special effects supervisors, and other film industry workers, Chung traces how the rhetorical and visual emphasis on seamlessness masks the social, political, and economic realities of global filmmaking and digital labor. In films such as Avatar (2009), Interstellar (2014), and The Host (2006)—which combine live action footage with CGI to create new hybrid environments—filmmaking techniques and "seamless" digital effects allow the globally dispersed labor involved to go unnoticed by audiences. Chung adapts Foucault's notion of heterotopic spaces to foreground this labor and to theorize cinematic space as a textured, multilayered assemblage in which filmmaking occurs in transnational collaborations that depend upon the global movement of bodies, resources, images, and commodities. Acknowledging cinema's increasingly digitized and globalized workflow, Chung reconnects digitally constructed and composited imagery with the reality of production spaces and laboring bodies to highlight the political, social, ethical, and aesthetic stakes in recognizing the materiality of collaborative filmmaking.