Anime Fan Communities: Transcultural Flows and Frictions by Sandra Annett (auth.)

By Sandra Annett (auth.)

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Figures morph fluidly one into the other, cannon to champagne bottle to flower to elephant, as increasingly nonsensical events chase each other in a series of visual free associations, 30 ANIME FAN COMMUNITIES arbitrarily evolving and just as arbitrarily ended. The finished cartoon is just less than two minutes long. ” The drawing style of the Fragment is figurative and (by comparison to Cohl) naturalistic, depicting a simplified but recognizably Japanese boy. The written text “Katsudō Shashin” is also clearly aimed at those who could read Japanese, and so suggests an intended domestic audience.

Chapter 6, “World Conflict/World Conference: Axis Powers Hetalia,” illustrates how earlier ideas of media and community are both reified and transformed within the visual environment of the media mix. ), by Himaruya Hidekaz. This controversial parody of the nations involved in World War II is available as a web manga, print manga, web anime, and theatrical film. In its many versions, Hetalia is a prime example of how the twentieth-century media mix described by Steinberg (2012) has grown into a highly structured “contents industry” (Azuma 2007) in recent years.

The Chapters This book considers the changing faces of animation spectatorship by tracing animation audiences through three eras, each of which is given its own section: one on international cinema, one on postnational television, and one on the transcultural Internet. However, these periodizations are not absolute and exclusive. I do not want to lock each era, medium, and mode of globalization into a deterministic and totalizing whole, as if film animation can only be international in one way, having developed at one time.

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