Dissertations / Theses on the topic 'Anime'

Sammanfattning Titel: Kärlek till anime – en tillräcklig reseorsak? En kvalitativ studie om anime-fans motiv till att besöka anime-destinationer Författare: Linda Smedberg Handledare: Jasmina Beharic Examinator: Hans Wessblad Ämne: Turismvetenskap III, examensarbete (kandidat) 15 HP, HT 18 Datum: 14/1–2019   Syfte och forskningsfråga Syftet med denna uppsats är att ge en förståelse till vilka resemotiv anime-fans har för att besöka en anime-destination. Uppsatsen förklarar vilka dessa resemotiv är. Således ställdes forskningsfrågan:   Vad motiverar anime-fans att besöka en destination som använts i en japansk animerad serie?   Metod Uppsatsen utgår utifrån en kvalitativ metod och följer en deduktiv ansats. Vilket betyder att teorier presenteras som sedan mynnar ut i en analys av mitt empiriska material. Vilket är grundat i en kvalitativ, webb-baserad enkätundersökning.   Resultat Studiens resultat visar att anime-fans besöker anime-destinationer av flera olika orsaker. Alla dessa är grundade i en förkärlek till anime-kulturen. Resultaten visar också att anime-landskap samt turisternas identitet kan forma och påverka deras resemotiv.<br>Abstract The purpose of this thesis is to create an understanding of what motivates anime fans to visit an anime destination. This thesis aims to enlighten the reader to what these motives are by trying to answer the question: What motivates anime fans to visit a destination that has been used in a Japanese animated series?   The method used is a qualitative one and the thesis follows a deductive approach. Which means that theoretical theories were first presented. These were then tested in an analysis of my empirical material. The empirical data was collected from a qualitative web-based survey.     The study’s results show that the primary reasons anime fans visit an anime destination is because they love anime. It also shows that destinations and anime landscapes together with one’s identity can influence tourists travel motivations.

This thesis explores the playful world of Keroro Gunsô, a manga-turned-anime comedy that is immensely popular in millennium Japan and starting to gain popularity on a global scale. Drawing from a parody of Japan’s military aggression during World War Two, the anime plays with the public memory about Japan’s imperial past and the binary opposition between war and peace, invader and the invaded, and ultimately, patriarchy and matriarchy. This paper will examine the text of Keroro Gunsô as a symbolic site of what Mikhail Bakhtin called “carnival,” a discursive space for renewal, festivity and laughter freed from ordinary social restrictions and conformity. I would argue that Keroro Gunsô offers a playful fantasy for Japan’s “post-postwar memory” (as Carol Gluck calls it) to deal with social anxieties associated with Japan’s imperial past and its tragic defeat in the war. I will start my argument by looking at the increasingly significant role of carnival/festival anime in today’s global culture. Then, after a brief reading of the story of Keroro Gunsô, I will locate its text in the framework of “carnival” to examine its carnivalesque features: the attack against historical facts through parody as well as the reversal of Japan’s patriarchal hierarchy through the mobilization of its symbolic characters. Finally, I will examine how Keroro Gunsô embraces/celebrates Japan’s playfully weak, irresponsible, and ultimately, emasculated identity as a response to the social anxieties surrounding Japan’s defeat in World War Two. Through the alternate reading of this incredibly popular comedy, this paper attempts to explore a different side of Japanese society encapsulated in this carnivalesque anime behind its humor and festival laughter.

Mobile Suit Gundam (1979-1980) is an iconic series in the genre of television anime featuring giant fighting robots, embedded in a system of conventions developed across decades of media aimed at boys that emphasizes action and combat. In this thesis, I argue that Gundam foregrounds the interiority of its main character Amuro, challenging conventions governing the boy protagonist. Using Peter Verstraten's principles of film narratology and Thomas Lamarre’s theory of limited animation, I find in Gundam's narrative strategies sophisticated techniques developed to portray his inner life. These techniques of interiority generate ironic tensions with the traditionally exterior orientation of combat narratives. These tensions connect to a larger discourse of Japanese postwar media built into the very lines that draw characters and robots, leading Gundam to a spectacular confrontation with its own genre’s legacy of mechaphilia.

Conventions featuring anime (Japanese animation), manga (Japanese comic books), video games, and related merchandise have accumulated fandoms (fan communities) through the provision of a supportive environment that facilitates consumption of imported products. Anime conventions in the U.S. and Canada attract consumers from across North America. Attendees frequently utilize cultural and symbolic capital to express their enthusiasm as fans. Some fans create elaborate handmade costumes and perform as their favorite characters during the convention. This activity is commonly called cosplay (or “costume play”). Cosplayers borrow directly from Japanese popular culture media texts and aim to make the best possible realization of the characters. Drawing on Bourdieu’s Distinction: A Social Critique of the Judgment of Taste (1996), theorists of fandom have examined the consumption of popular texts, such as television, magazines, or books, with regards to dominant cultural standards, or taste. Some fan theorists profess that fan subcultures challenge the institutionalized cultural hierarchy. Fans invest time and money in the consumption of devalued products, namely popular culture. Consumption of popular texts and the fan activities associated with them are denigrated by dominant culture. This thesis draws upon Bourdieu’s concept of taste to examine how conceptualizations of “good” and “bad” taste relate to gender and physical attributes, such as body size and skin color. Cosplay is a social activity where fans temporarily assume and perform a fictional identity. However, interviews with cosplayers indicate that a cosplayer’s decision making is informed by dominant social standards of beauty, based on physical appearance, body size, and to some degree, ethnicity. Conventions provide relatively safe places for the transgression of normative concepts of gender and sexuality. Cosplay provides an opportunity for gender ‘play’ and self-invention through the performance of alternative personas. Cosplayers are stigmatized by dominant society for their inordinate interest and consumption of a devalued commodity. The activity involves skill, time, and devotion that mainstream society prescribes for a career or in some way contributing to the economic system. Fan activities, including cosplay, and online fan communities contribute to an alternative discourse about desire, sexuality, and gender that challenges dominant, patriarchal social norms.

Despite growing as a new popular facet of tourism in Japan, Seichi junrei is still niche and largely undocumented, stifling both the experiences of participants as well as the opportunities in the tourism industry. The tourism industry is changing and always trying to improve but lacks a personal touch. According to studies, the tourism industry focuses more on mainstream tourism than it does on niche tourism. Seichi junrei community issues are not being heard by the tourism industry; There are no user-friendly platforms available for the subculture to contribute towards tourism. This text explores the development of tourism and improving the experiences of tourists participating in the phenomena known as seichi junrei. Seichi junrei is explored through ethnography to create bonds. Together as a team of voluntary participants, through participatory design challenges the current problems with tourist experiences and improves them through digital tourism. The thesis creates a community and a platform that solves the user experience problems of seichi junrei. Seichi junrei becomes a guide for new fans where everyone can work as a community and help evolve the tourism phenomena of seichi junrei.

This postgraduate thesis called "Gender, Identity and Sexuality in Japanese Anime", will be dealing with the depiction and grasping of the meaning of gender, sexuality and identity and the overcoming of their traditional borderlines in Japanese anime. The meaning of the word "gender" in this thesis, is primarily referring to it's original meaning, typically used with reference to social and cultural arrangements of gender roles rather than biological differences between sexes, which is how the word "gender" is often misused. This thesis will primarily be an in-depth research of the diverse interpretation of gender, sexuality and identity in Japanese animated film from an anthropological point of view, incorporating history, tradition and social development in Japan, ranging from its very first mythological beginnings up to present day. Japanese animated film is characterized by its broad range of genres and it's diversity, which is derived not only from the richness of its own unique culture and way of thinking, but also by adopting western concepts, which are then moulded together and joined in a new original form. This manner of adopting certain aspects from other cultures and their uniting with Japanese tradition and culture created a rich fertile ground for growth of new concepts of gender, sexuality and identity. It is also thanks to this aspect, that Japanese anime has obtained a huge enthusiastic and devoted fan base all around the world. The aim of this thesis is to illuminate the background of the emergence of different concepts of gender, sexuality and identity in Japanese anime and to point out these aspects in individual film and series productions, which best depict these different concepts.

This dissertation traces the circulation and consumption of Japanese anime, or Anime, in Kuwait to examine the changing consciousness of normativity regarding gender and sexuality for audiences and fans. Anime has been distributed and accessible since the 1970s in Kuwait. Nonetheless, with the advent of "New Anime" after the 2000s, the audience has widely accepted characters and protagonists that deviate from the existing representational practices portraying active men and passive women. Drawing from gender and sexualities studies, media and anime studies, Antonio Gramsci's theory of hegemony as well as Raewyn Connell's theory on masculinities, this study critically investigates "hegemonic masculinities" in Kuwaiti society to argue the ways in which the reception and practices of Anime help to erode them.<br>博士(アメリカ研究)<br>Doctor of Philosophy in American Studies<br>同志社大学<br>Doshisha University

Syftet med examensarbetet är att få en bild av huruvida det är möjligt att använda sig av anime som undervisningsmaterial rörande etik och moral. Med hjälp av filmer och en enkätundersökning har detta genomförts. Sammanfattningsvis pekar resultatet på att eleverna verkligen får tillfälle och möjlighet att med hjälp av anime reflektera över etiska och existentiella frågor.

study documents the occurrence of the intellectual hero in anime, focussing on the anime series of Monster (2004), Paranoia Agent (Kon 2004) and Umineko no Naku Koro ni (Kon 2009). The characters, Doctor Kenzo Tenma, Detective Keiichi Ikari and Battler Ushiromiya represent the concept of the intellectual hero in anime. Each intellectual hero in anime exists as an embodiment of literature pertaining to the hero and the anime hero. The intellectual hero in anime is derived from key aspects of Thomas Carlyle's (1796-1881) writings concerning heroes and hero-worship. Antonia Levi and Susan Napier contribute further aspects pertaining to the depiction of the intellectual hero in anime, by discussing the concept of the anime hero. As such, the intellectual hero in anime exists as a concept encompassing elements of both the traditionally perceived styled hero and anime hero. Carlyle's theories reveal the intellectual hero in anime's preference for intelligence, genius and order versus disorder; while exhibiting aspects of an inborn morality. Levi and Napier document the fallibility, sincerity, the complex divided self, moral ambiguity and turmoil of the anime hero. This combined definition communicates an intelligent and exceptional character experiencing failure during his encounter with the antagonist -- an agent of disorder. This study thus appropriates these concepts on the hero and anime hero to construct a concise and viable definition. Moreover, this study strives to identify and promote the existence of the intellectual hero. The intellectual hero in anime acts as a possible bridge between the traditionally perceived hero and anime hero. By identifying this concept, the study opts to prove the validity of the intellectual hero in anime, by means of a qualitative content analysis. Furthermore, a semiotic analysis documents the visual depiction of the intellectual hero in anime. As such, the aim of the study is to document the occurrence of the intellectual hero in anime by means of a qualitative content analysis and semiotics.<br>Dissertation (MA)--University of Pretoria, 2016.<br>Visual Arts<br>MA<br>Unrestricted

El objetivo principal de esta tesis es presentar un análisis de las aportaciones del anime de ciencia ficción, considerado tanto en sus aspectos narrativos como en su materialidad como imagen en movimiento, a la cuestión de las relaciones entre identidad, cuerpo y tecnología. A través de animes como Akira, Evangelion, Ghost in the Shell y Serial Experiments Lain, exploro de qué forma la tecnología pone en duda los límites de la identidad individual, y cómo es fundamento para la extensión de ciertas capacidades corporales, cognitivas y sociales del ser humano. A través de conceptos extraídos de las filosofías de Henri Bergson, Gilbert Simondon, Gilles Deleuze, Jacques Lacan y Donna Haraway, entre otros, exploro la relación entre elementos narrativos y extra-narrativos en estos animes. En estos trabajos se nos presentan no sólo narrativas complejas, sino también elementos que parecen escapar a la lógica narrativa. Deben tenerse debidamente en cuenta tanto los aspectos extra-narrativos “flotantes” como puntos específicos de ruptura de la narración. Además, pongo en relación éstas formas de narratividad con ciertas nociones de temporalidad, en las que se pone en entredicho lo que Bergson denominó el tiempo espacializado, un tiempo homogéneo y lineal, para hacer emerger formas de temporalidad más cercanas a la idea de proceso, es decir, heterogéneas y no ligadas a una lógica teleológica. Finalmente, comento de qué forma el objeto técnico anime constituye una forma de transducción material específica de ciertos procesos psíquicos, y como en éste se produce significación de forma transindividual y colectiva. Tener en cuenta el anime desde este punto de vista, como una transducción de ciertos esquemas psíquicos, nos permite poder hablar de él como dispositivo pensante.<br>The main purpose of this thesis is to present an analysis of the contributions of science fiction anime, considered both in its narrative aspects and in its materiality as a moving image, to the matter of the relations between identity, body and technology. Through anime such as Akira, Evangelion, Ghost in the Sell, and Serial Experiments Lain, I explore how technology challenges the limits of individual identity, and how it is the basis for the extension of certain bodily, cognitive, and social capacities of the human being. Through concepts derived from the philosophies of Henri Bergson, Gilbert Simondon, Gilles Deleuze, Jacques Lacan and Donna Haraway, among others, I explore the relationship between narrative and extra-narrative elements in these animes. In these works we are presented not only with complex narratives, but also with elements that seem to escape narrative logic. Due account should be given both to the extra-narrative "floating" aspects and to specific points of rupture of the narrative. In addition, I explore the connections of these forms of narrativity with certain notions of temporality which call into question what Bergson called specialized time, a homogeneous and linear time, and bring forth forms of temporality which are closer to the idea of ​​process: heterogeneous and not linked to a teleological logic. Finally, I comment on how the technical object animates constitutes a form of material transduction of certain psychic processes, and how how it contributes to meaning-making in a transindividual and collective form. Taking anime from this point of view, as a transduction of certain psychic schemes, allows us to speak of it as a thinking device.

This study examines post-World War II “anime” and manga based on the bomb’s after-effects and changes in Japanese mindsets resulting from the War, especially as inspired by Osamu Tezuka and later artists influenced by his works. This study theorized that Japanese political culture elements, through particular plotlines, could be traced in manga and anime themes carrying hidden messages repeatedly referencing the bomb’s effects on Japan, citing Tezuka’s influence, in the 1945-65 and 1985-95 periods, in the post-apocalyptic, science fiction, and fantasy genres. Case studies were used to qualitatively assess data for historical evidence of Tezuka’s influence across specific genres, from scholarly studies and reviews of manga, comics, and related media. Evidence of Tezuka-inspired themes, such as hope out of endless devastation (the phoenix analogy) and man’s destructive obsession with technology by conquering nature (dependent variables), were analyzed from a comparativist, historical viewpoint, as influenced by atomic bomb-related themes. The researcher explains the Japanese fascination with technology and why many anime show status quo disagreements. Japan absorbed trauma from the bomb, was invaded by foreigners, and faced a complete overhaul. Post-war, the economy grew rapidly, but Japan must reduce rigidity and social conformity. The Japanese are aware of the US role in their dual defense arrangement; Japan felt discomfort as a junior-partner in the 1950s-60s. The US monitored Japan on defense and foreign policy as it rebuilt itself. Tezuka’s work show insight into the defense arrangement and technology’s societal role. Conclusions suggest manga artists drew from Tezuka’s works that the bomb’s devastation changed Japan significantly, launching powerful themes referencing these events in postwar science fiction, fantasy, and futuristic post-apocalyptic genres, relating to Japanese history, political components from ethical technology perspectives, relations between nations, and conducting foreign policy (independent variables). Japan must look to the future, as after the war, rising from the ashes. Balancing Mother Nature, technology’s place in society, and hope for rebuilding relate to the 2011 nuclear crisis and survival. Japan prevailed once before, recovering from a disastrous early 1900s earthquake; if Japan once survived devastation, certainly it could again. Just as manga and anime unite fans globally (especially once US Comics Code restrictions were lifted), mankind assists others in crisis and settles disagreements; we can universally transcend nation. Tezuka’s message of bettering humanity to avoid a dark future depends on our ability to settle differences, respecting nature for its simple beauty in our lives.

This thesis examines the figure of the wandering adolescent, prominently visible in Japanese television anime and videogames produced from 1995 to the present. Japan in the 1990s and at the millennium experienced intense economic and social change, as the collapse of the 'bubble' economy of the 1980s resulted in a financial recession from which the country has yet to recover. At the close of the decade, the national experience was characterised in media descriptions of malaise and disenfranchisement, and the loss of perceived core traditional cultural values. Arguably in this period the figure of the adolescent changed qualitatively in Japanese culture, rising to prominence within youth panic discourses circulated by the Japanese news media. These concerned the perceived rise in antisocial and problematic teenage behaviour, including the otaku, the hikikomori shut-in, classroom disobedience, bullying, and prostitution, while multiple cases of brutal murder perpetrated by teenagers became the focus of extensive media coverage. Public discourse expressed alarm at the perceived breakdown of the traditional family and the growing commodification of childhood in Japanese culture. This thesis develops understanding of the shifting attitude in Japan towards adolescence within the context of these cultural anxieties, and through the analysis of anime and videogames suggests strategies that are at work within popular cultural texts that are the product of, contribute to and reorient debates about the position of the suddenly and inescapably visible teenager in Japanese society. Through analysis of discourses relating to the shifting representation of the wandering adolescent as it moves across cultural texts and media forms, the thesis forms an original contribution to knowledge and understanding of Japanese anime and videogames through illumination of a prominent motif that to date remains unexamined.

Anime Music Videos (AMVs) are transformative works that provide channels of communication between the viewer and the viewed. The editors who make AMVs have distinct communities built on the evolution of anime conventions in the United States but have prospered and transformed globally. In the performance of technology, AMV editors find ways of using mass-mediated texts to express themselves, to convey emotions, and to communicate social messages. They make new associations by combining materials and display these associations in sophisticated ways on social forums like the Internet and anime conventions. The associations are interpretive and articulate how storytelling, rather than a fixed and linear one-way flow, is nonlinear, a negotiation between the storytelling performer and audience.

The democratization of new media technologies, particularly the software tools though which "content" can be manipulated, has invited a seemingly vast array of modes through which people can express themselves. Conversations in fan studies, for example, cite the novel ways in which new media allow fans to alter texts in the expression of their subcultural needs, while theorizations of media often reverse the paradigm by arguing how advances in technology will revolutionize how we interact with, and hence, know the world. Frequently overlooked are the ways in which these technologies and communities co-construct engagement and the extent to which this engagement spurs novel ways of interaction. This dissertation addresses these problems by theorizing the role of the medium as a ludic negotiation between text and fan, informed--but not determined--by the rules and strictures that construct both these discrete media artifacts and the communities in which these texts circulate. Nowhere are these concerns more evident than in the subcultural realm of anime fan translations, where an eclectic blend of tech-savvy, Japanese language proficient, culturally competent individuals from different backgrounds converge to form groups who have self-nominated themselves to spread anime through timely, efficient, and accurate translations. To be successful, they must navigate multiple linguistic and cultural currents as they move between Japanese and their target language, deftly avoid running aground on the shores that structure the boundaries of container media, all the while remaining mindful of ideological and subcultural discursive shoals as they scan the horizon for alternate paths to their translation goal. These fan translators are, to be less dramatic, limited in the types of translations they can provide by the formal properties of the selected medium, but these limitations should be conceived as a generative process motivating translators to seek novel ways of engagement with the medium to meet both their translation needs and the needs of the communities in which their translations circulate.

Os personagens centrais desta pesquisa são os otakus, que podem ser descritos como fãs aficionados por mangás e animes, que passam boa parte de seu tempo entretidos com estes elementos (além de alguns outros) da cultura pop japonesa, vínculo este que exerce influência sobre sua visão de mundo e sobre o modo como agem em seu cotidiano. O foco central da pesquisa será a busca pela compreensão da relação existente entre ficção e realidade. Parto da ideia de que a ficção não é um simples produto do contexto sociocultural no qual é produzida: de fato é fruto deste contexto, porém na medida em que apresenta uma leitura, um modo de ver que extrapola os limites da realidade, ela pode ser vista como um agente ativo, transformador, como um agente que estimula a construção de novas percepções sobre o mundo que nos cerca.<br>The central characters of this research are the otakus, who can be described as fans of mangá and anime, who spend much of their time entertained with these (and some others) elements of Japanese pop culture, a linkage that influences their worldview and the way they act in their daily lives. The central focus of the research is the quest for understanding the relationship between fiction and reality. My assumption is the idea that fiction is not simply a product of the sociocultural context in which it is produced: in fact it is a product of this context, but as it is a way of reading, a way of seeing, which goes beyond the limits of reality, fiction may be thought of as an active agent, transformer, an agent that stimulates the construction of new insights about the world around us.

This thesis describes the textual strategies used in the translation into English of fictional dialogue, with particular reference to a content area as yet unexplored in Translation Studies: Japanese comic-books and animated cartoons. It does this by means of comparative case studies of the textual procedures used in different translations of Japanese source-texts. The comparisons are of target texts, and are sometimes interlingual in nature (English vs. French) and sometimes intralingual (English vs. English). The analytic approach is stylistic, focusing on the narrative functions of setting and character. The accumulation of case studies reported in the thesis provides new information about conventions of translating fictional dialogue into English. The findings are that, unlike their French counterparts, none of the English translations investigated in this thesis makes use of intermediate translation. English translations assimilates character voice more strongly than French translations, and the same trend emerges with regard to military and scientific register. However, no overall interlingual difference emerges clearly with regard to the translation of culture-specific items. The thesis also provides new information about specific modes in the translation of fictional dialogue (dubbing, subtitling and comic-book translation). English comic-book translations domesticate character voice strongly, adding vulgarity, as well as substituting and autonomously creating English dialects. English dubs transform indices of character by inserting jokes, vulgar language and stereotypical foreign expressions. However in the two cases where English dubs could be compared intralingually, the more recent translations adapt the Japanese dialogue less than the earlier versions. The conventions of comic-book translations and dubbing differ in these respects from contemporary prescriptions of literary translation theory. Subtitles are less domesticating than dubs or comic books. Although subtitling sometimes neutralises stylistic features of Japanese dialogue, analysis of recent subtitles shows a number of compensatory procedures can be used to create corresponding indices of character in the target text.

It is a challenging task for interaction designers to find a way to design a digital artefact supporting serendipitous discovery. Its interdisciplinary nature requires sufficient knowledge of information visualization, social navigation and serendipity. Based on literature review and prior relevant works, several traces having potential to aid such exploration were defined. Through creating and testing AniMap, an interactive graph visualization for discovering new anime clips, in this thesis I argue that such an artefact has the potential to support serendipitous discovery, owing to its features of being information visualization, interactive and in a graph layout, coupled with users’ personal interests. Even so, finding details of how to influence serendipitous discovery remain an ongoing challenge considering the dynamic nature of serendipity.

Animé, a style of Japanese animation, has begun to evolve into more than a simple animation. The stories found in animé have reached a level of complexity similar to traditional cinema. However, lighting in animé, has been minimal. Using computers to create animé, rather than creating it traditionally by hand, has allowed greater opportunities to be creative with lighting. Color and computer-generated (CG) effects can be integrated with traditional line drawings to create beautiful images in animé. Since cinematic lighting exhibits some of the finest examples of lighting, this thesis will analyze lighting styles from three different cinematographers and adapt them to three anim??e style scenes in 3D. The scenes will be modeled, lit, and rendered using Alias/Wavefront MAYATM, and textured using Adobe PhotoshopTM. The result will be a visual CG piece that adapts the lighting style of certain distinctive cinematographers, while retaining the look of animé.

Memoria para optar al título de Periodista<br>Las imágenes tienen una presencia constante en la vida moderna. Permanentemente, nos encontramos a merced de una interminable secuencia de estímulos cuya intencionalidad no siempre es clara. Los recursos icónicos de mecanismos tales como la publicidad y la propaganda tienen la capacidad de hablar directamente a nuestro inconsciente, convenciéndonos de que necesitamos uno u otro producto e incluso cambiando nuestro punto de vista sobre un tema específico. Con el desarrollo de nuevas tecnologías, que las dotaron de movimiento, el poderío de las imágenes pareciera haberse superado a sí mismo. Sin embargo, uno de los alcances más enigmáticos se encuentra sin duda en su capacidad de establecer nexos con los propios sujetos. Por ejemplo, no es raro ver cómo el espectador de una serie de televisión especialmente apasionante sufre, se emociona e incluso empatiza con los protagonistas. Dentro del público infantil y juvenil, un personaje particularmente atrayente se transforma sin esfuerzo en un ídolo digno de imitación. Esta conducta, si bien a un nivel bastante más refinado y complejo, se replica de manera constante al interior de la comunidad otaku chilena. Existe una relación latente entre la visualización de imágenes en secuencia y el inconsciente. Dicho vínculo ha sido explorado en diversos estudios, siendo Christian Metz -padre de la semiótica audiovisual- el primero en abordar este tema como problemática. De esta manera, los procesos cognitivos que el sujeto perceptivo lleva a cabo al momento de la visualización son conducentes a distintas formas de identificación que invaden el plano de lo social. El resultado es un choque cultural entre ~ 3 ~ oriente y occidente que ha evolucionado durante los últimos años gracias a la masificación de la cultura y la animación de origen japonés en nuestro país. Lo anterior es llevado a un plano de realidad social a través de la transición que ha ocurrido desde el fanático “old school” y aquel más “joven”. Las razones son muy diversas, pero sin duda el principal factor es la globalización como factor de inmediatez y facilidad para acceder a los contenidos. Ahí donde el otaku mayor de 25 años sólo podía obtener nuevas series y mercancías buceando entre grandes cantidades de objetos y películas en VHS del famoso mercado “Persa”, los nuevos fanáticos pueden descargar decenas de nuevas historias con apenas un click gracias a los archivos torrent y las numerosas comunidades virtuales que las suben a la web. Lo mismo ocurre si desean adquirir merchandise oficial de sus series favoritas. Si bien el popular “Eurocentro”, como comprobaremos más adelante, sigue siendo un gran foco de reunión para esta comunidad, hoy en día cualquier persona con una tarjeta de crédito puede comprar y recibir directamente en su casa objetos de todo tipo traídos directamente de Japón, algo inalcanzable para el fanático promedio de antaño. De ahí, quizás, nace esta rivalidad generacional en la que se enmarcan los relatos que componen el presente texto. Sin embargo, aun con las diferencias propias de la edad y los gustos personales, veremos que se trata de una colectividad donde prevalece un sentido de pertenencia que se rehúsa a la segregación etaria. Más allá de la forma o la facilidad con la que se consumen los productos alusivos a este tipo de animación, persiste una cohesión, anclada a un espacio físico indeterminado, capaz de articular a esta comunidad y ~ 4 ~ mantenerla en el tiempo. Se trata de un punto de encuentro transversal, donde las diferencias generacionales pierden momentáneamente su relevancia. Distintos factores, principalmente económicos, han impedido que la versión chilena de la comunidad otaku se establezca con la misma propiedad que su maestra nipona. Si bien en nuestro país no existe un centro neurálgico que reúna “todos los intereses y a todos los interesados”, la necesidad de convergencia se ha hecho patente en la construcción del “evento” o convención de anime como principal instancia de socialización. Su carácter y conformación básica se ha adaptado y mutado a la par con sus ocupantes, de manera que se ubicará al centro de esta narración como principal eje sobre el que se moverán los protagonistas de esta historia. Un multiverso de contenidos: Adaptaciones y apropiaciones La globalización, ese complejo mecanismo del que parecen emanar tanto los avances en materia comunicativa como las problemáticas en términos de lo social, tiene aquí una incidencia mayúscula. Sus alcances a la cultura han permitido la entrada de un flujo virtualmente interminable de contenidos diversos y disímiles. En el caso de la animación japonesa, su entrada al país estuvo marcada por reacciones tan opuestas como los background culturales de las partes involucradas. La presencia de la japoanimación en la televisión chilena, principalmente en señales abiertas, trajo consigo altísimos ratings que traspasaron segmentos tanto etarios como sociales. Simultáneamente, desde el principio una gran parte de la población nacional miró con cierta desconfianza a estos particulares dibujos animados de ojos exageradamente grandes. Pese a esta relativa desconfianza de sectores más ~ 5 ~ conservadores -alimentada por una seguidilla de desafortunados casos que detallaremos más tarde- la potencia con la que esta nueva tendencia golpeó a un público acostumbrado a contenidos mucho más limitados llegaría a expandirse para crear un complejo escenario multimedial. A diferencia de la animación occidental, que no suele expandirse más allá de la pantalla, la producción de juguetes y algunos videojuegos, su par oriental tiende a la proliferación en una cantidad extremadamente amplia de formatos: “La Japoanimación no agota el formato del video, sino que se interconecta con el Comic, Internet, Compact Disc, CD Rom, Video- Juegos, más una gama variada de objetos de merchandising, como poleras, afiches, cuadernos, autoadhesivos, etc.” (Del Villar, 2001, p.1). Lo que es más, incluso dentro de cada categoría es posible encontrar una multitud de subgéneros. Por ejemplo, el mundo de los juegos de video japoneses tiene una gran cantidad de variaciones entre las que se cuenta la novela visual para PC, los RPG o Role Playing Game -donde los participantes asumen la identidad de los personajes- y los populares Eroge, que se caracterizan por una temática y jugabilidad1 que privilegian el erotismo o directamente la pornografía. De esta manera, la gran diferencia que ostenta el mundo de la animación japonesa respecto de objetos culturales similares es el alto grado de especialización que está presente en su interior. Esto se materializa en la gran cantidad de tiendas exclusivamente dedicadas a uno u otro formato de este complicado multiverso, establecimientos que se han replicado en nuestro país en conjunto con varias otras instancias y mecanismos. Así, la naturaleza de micro-cultura que ostenta este movimiento cultural es un rasgo que queda validado en su capacidad de construirse y extenderse a través de una variedad de formatos. No obstante, su complejidad no se detiene ahí. Más allá de las extensas referencias que configuran el mundo de los otaku en su origen, con su exportación a otras partes de mundo dichas consideraciones deben conjugarse con la identidad local. El producto es un nuevo sistema de significación, en cuyo centro se encuentra la comunidad de fanáticos chilenos como principales actores y reactores de la construcción identitaria que los alberga. En términos prácticos, se pueden apreciar manifestaciones como la organización de convenciones en torno al universo de la japoanimación. El surgimiento de eventos propios como la reconocida Fan Viña, Anime Festival -el que posteriormente agregaría “Latinoamérica” a su nombre- Otaku Usach y muchas otras instancias que intentan emular a las mundialmente reconocidas Jump Fest2 o Comiket3 de Japón son la prueba de que se trata de una micro-cultura que no ha sido simplemente imitada, sino que ha requerido de una constante adaptación. Así, es claro que el fenómeno de la animación japonesa en Chile y la comunidad resultante de su importación dio lugar a una seguidilla de apropiaciones y re-significaciones que le permitieron adaptarse a su nuevo hogar. A partir de esto, se generan una gran cantidad de interrogantes: ¿De qué manera se consigue dicha apropiación, considerando las abismantes diferencias culturales entre oriente y occidente? ¿Cómo es posible que cientos de jóvenes se reúnan en torno a un producto multimedial determinado por códigos tan ajenos a sus propias realidades? ¿De qué manera son capaces de adaptar la gran variedad de formatos a sus propios intereses? El trabajo expuesto a continuación, realizado a partir de relatos, experiencias personales y observaciones en terreno, es un intento por dilucidar cómo opera la identificación cultural al interior de la comunidad otaku chilena: su estructura interna, motivaciones y re-significaciones hechas a partir del molde original. Debido a las distintas transformaciones que este movimiento ha sufrido con el tiempo, es posible detectar tres fases de gran relevancia para su configuración final. Los inicios, la transición y el panorama contemporáneo de la comunidad de fanáticos de la japoanimación y sus múltiples soportes son los tres momentos más distintivos en su trayectoria. Puesto que cada período tuvo como principales actores a una generación específica de aficionados, resulta lógico permitir que sean sus testimonios los que den ritmo a esta historia. A lo largo de tres capítulos principales, aparejados a su vez con tres protagonistas afines, la presente narración tiene como finalidad iniciar un viaje a través de la tradición de esta comunidad cultural. Desde sus fragmentados inicios, plagados de prejuicios y malos entendidos, hasta un presente mucho más cómodo y mejor articulado. Todo esto, sin restarle importancia a aquella etapa de crecimiento, ajustes y enmiendas por la que debió atravesar la actualmente bien aceitada maquinaria otaku. Los personajes que serán introducidos a continuación encarnan dichos procesos: toda ~ 8 ~ la complejidad, la terminología y los desafíos que ha debido enfrentar esta colectividad son llevados a la realidad por medio de sus experiencias y anécdotas. Tal y como comprobaremos dentro de algunas páginas más, el otaku chileno participa activamente en la construcción de su propio entorno micro-cultural. Es a partir de sus vivencias que han podido determinar la dirección del progreso, con el fin de trabajar en pos del mismo. Considerando que se trata de una forma de identidad cultural y social que se encuentra instalada en Chile hace décadas y que además grafica un proceso de carácter semiótico a través de un comportamiento observable socialmente -la identificación de los fanáticos con la cultura y/o los personajes de la japoanimación- es prudente su investigación, a través del relato de sus protagonistas como forma de analizar y comprender un proceso social de carácter actual.

Tesis para optar al grado de Licenciado en Comunicación Social<br>Autor no autoriza el acceso a texto completo de su documento<br>Para iniciar este trabajo debemos partir de la base de que la japoanimación como fenómeno globalizado es relativamente nuevo. Recién durante las décadas del setenta y ochenta comenzaron a llegar a los países occidentales las primeras muestras de una expresión cultural que tuvo sus orígenes en el Japón de 1814. El éxito masivo alcanzado por este tipo de animación, y la controversia por el contenido de ellos (violencia excesiva, ambigüedad sexual, etc.) han generado un amplio campo de estudio, que suele centrar el foco de atención en los efectos que estos dibujos causarían en los telespectadores, principalmente en los niños. Sin embargo, este campo de estudio se encuentra en un estado incipiente de desarrollo, tanto en nuestro país como en el resto del continente. De hecho, hoy somos testigos de una suerte de “boom” de las series animadas japonesas — como Dragon Ball, Sailor Moon, Los Caballeros del Zodíaco, por nombrar algunos — que acaparan los peaks de rating en televisión y generan ganancias millonarias por conceptos de merchandising. Paralelamente, en nuestro país el Consejo Nacional de Televisión y asociaciones de padres han venido expresando su preocupación por los contenidos inmediatos de estas series, exhibidas por televisión abierta en horario infantil. Este trabajo pretende ser un primer acercamiento teórico acerca del fenómeno de la japoanimación y sus implicancias culturales. Asimismo, pretende sentar una base para el estudio futuro del impacto en los receptores, al dilucidar las líneas guía y los referentes narrativos sobre los que se desarrollan estas series de animación, más allá de los contenidos inmediatos que éstos entregan. Por este motivo, es importante considerar el entorno cultural en el que se enmarca y se nutre la japoanimación. En el último tiempo, comunicólogos, sociólogos y en general todos aquellos relacionados con el área de los estudios sociales, se han visto envueltos en la polémica acerca de los efectos que producirían estas caricaturas en los receptores, principalmente en niños. Sin embargo, esta discusión no es la que nos preocupa ahora. Nuestro interés está en crear un cuerpo teórico que permita una aproximación concreta hacia el estudio de la animación japonesa desde su propio referente, su contexto último y su mundo posible. Desde nuestra perspectiva, es la semiótica la herramienta que nos permite tal acercamiento de forma más integral, pues provee de referencias teóricas para dar cuenta del objeto como construcción articulada de sentido. A partir de las proposiciones de distintos autores en cuanto a diferenciación de nociones de sujeto, mundo interior-exterior, culturización, tipificación de códigos cromáticos y de lenguaje, se nos abre un nuevo campo de exploración y estudio, que con características globales nos permite introducir el mayor número de variables, es decir : lenguaje y narración, línea y forma, colorido, estructuras de sujeto, entre otros. Además, la semiótica mantiene un nivel de coherencia entre sus niveles y variables en análisis que facilita — a través de sus métodos de fragmentación de los textos culturales, de los códigos, entendidos como la materialidad significante del texto audiovisual — una investigación que descompone el todo para recomponerlo y obtener una visión completa, holística, de los distintos matices que toma cada lectura en los ojos de quién la hace. Es decir, permite a los ojos occidentales mirar hacia Oriente, comprenderlo y reconstruirlo en la episteme blanca. Así, se logra una comprensión bipolar a partir de las dos grandes temáticas fundamentales en este tipo de investigaciones: análisis de contenido y análisis de las formas.

<p> The persona is an essential part of personality development that allows individuals to exhibit conventionally acceptable behaviors and to adapt them as necessary in social situations. The Jungian concept of the persona is underrepresented in depth psychological studies and so merits more development. This research aims to answer how the persona affects character development and individuation journeys through the narratives of Japanese anime. Also included was the exploration of the archetypal presence of Dionysus. Using a hermeneutic analysis of four anime series, both the protagonists and antagonists were explored at length. Additionally, pivotal fighting scenes were considered to demonstrate persona development or dissolution. Through the process of the research, I found that analysis of villains yielded more results in regard to the persona. Findings indicate that Dionysian myth is often apparent within anime, despite its cultural dissonance. A broader understanding of the persona could have an influence on the field of media studies as a way of exploring narrative within and outside a specific tradition. Findings also indicate that the depth psychology concept of the persona may also be more complex than initially thought; specifically, it may be a multilayered structure, rather than a singular one. Persona identification turns individual characters into a vessel for unconscious contents. Further analysis of persona identification can be a tool to help make inferences about the personal and collective unconscious. Keywords: persona, individuation, Dionysus, anime, inflation, persona identification </p><p>

This thesis describes the textual strategies used in the translation into English of fictional dialogue, with particular reference to a content area as yet unexplored in Translation Studies: Japanese comic-books and animated cartoons. It does this by means of comparative case studies of the textual procedures used in different translations of Japanese source-texts. The comparisons are of target texts, and are sometimes interlingual in nature (English vs. French) and sometimes intralingual (English vs. English). The analytic approach is stylistic, focusing on the narrative functions of setting and character. The accumulation of case studies reported in the thesis provides new information about general conventions of translating fictional dialogue into English. The findings are that, unlike their French counterparts, none of the English translations investigated in this thesis makes use of intermediate translation. English translations assimilate character voice more strongly than French translations, and the same trend emerges with regard to military and scientific register. However, no overall interlingual difference emerges clearly with regard to the translation of cultural markers. The thesis also provides new insights on specific modes in the translation of fictional dialogue (dubbing, subtitling, and comic-book translation). English comic-book translations domesticate character voice strongly, adding vulgarity, as well as substituting and autonomously creating English dialects. English dubs transform indices of character by inserting jokes, vulgar language, and stereotypical expressions from foreign languages. However in the two cases where English dubs could be compared intralingually, the more recent translations adapt the Japanesed ialogue less than the earlier versions. The conventions of comic-book translation and dubbing differ in these respects from the contemporary prescriptions of literary translation theory. Subtitles are less domesticating than dubs or comic books. Although subtitling may sometimes neutralize stylistic features of Japanese dialogue, recent subtitles released in America use a number of compensatory procedures to create corresponding indices of character in the target text.

Suportes de leitura em ascensão, as narrativas imagéticas nipônicas são compostas por linguagens visual e verbal singulares, por traçados ilustrativos específicos e por temáticas textuais distintivas, parte de uma personalidade própria. Os hipergêneros mangá e anime, embora compartilhem elementos particulares, como a publicação e classificação interna em uma gama de gêneros e subgêneros autônomos, porém unidos por elementos coincidentes, diferenciam-se entre si – da arte sequencial e animação para além das fronteiras do Japão – quanto à estilização do traçado, ao conteúdo da narrativa, à ilustração e à caracterização de personagens. Logo, para que tais aspectos permeiem a leitura e a interpretação da imagem, assim como dos textos verbais, infere-se o atrelar desses elementos a um contexto aos quais se atribui um sentido nos âmbitos histórico, ideológico, social, cultural e comportamental. Assim, na representação, na tradução intersemiótica ou no engendramento de concepções e interpretações de culturas, de ações sociais, de ideologias, de doutrinas ou filosofias religiosas e de atribuições de sujeitos feminil e varonil japoneses, busca-se referências para se apreender o mangá e o anime como produtores e possibilitadores de reflexões. Nesse paradigma, o presente estudo objetiva o analisar a utilização da linguagem visual e verbal nas sagas de mangá e anime que constituem o corpus do presente estudo, examinando o modo pelo qual cada uma dessas linguagens procede ao representar, ao traduzir intersemiótico ou ao engendrar de diferentes aspectos histórico, social, ideológico, cultural e comportamental do Japão-nação. Ao circundar a temática, inicialmente traça-se um panorama quanto à origem, à ascensão e à transformação do mangá e do anime em fenômeno de leitura no Japão, no Ocidente e no Brasil. Apresenta-se os gêneros e subgêneros desses suportes de leitura, diferenciando-os quanto ao público leitor visado, averiguando suas especificidades, sua classificação temática e sua classificação de acordo com os sujeitos masculino e feminino e com a faixa etária. Por fim, averigua-se as modificações da representação da cultura, da sociedade e de ideologias japonesas presentes no mangá e quando este é transposto para anime em resposta à demanda de um sujeito leitor fora do Japão.<br>Ascending reading media, the imagetic Japanese narrative are composed by singular visual and verbal languages, by specific illustrative strokes and distinctive textual themes part of a personality. The hipergenre manga and anime, in the share of distinctive elements such as publishing and internal classification in a range of autonomous genres and subgenres, yet linked by coincident elements differ from each other – as well as the sequential art and the animation from beyond the borders of Japan – as to the styling of the illustrative strokes, the content of the narrative, the illustration and the characterization of characters. Then, in order to such aspects permeate the reading and interpretation of the image as well as the verbal texts, one infers the coupling of these elements to a context in which it assigns a meaning in historical, ideological, social, cultural and behavioral levels. Thus, in the representation, in the inter-semiotic translation or in the engender of conceptions and interpretations of Japanese culture, social actions, ideologies, religious doctrines or philosophies and specific attributions to feminine and masculine subjects one searches references to grasp manga and anime as producers and enablers of reflections. In this paradigm, the present study aims to analyze the use of visual and verbal language in the sagas of manga and anime part of the corpus of this study, examining the way in which each of these languages proceeds to represent, to intersemiotic translate or to engender different historical, social, ideological, cultural and behavioral aspects of Japan. With the purpose of encompassing the subject, initially one delineates an overview the origin, the rise and transformation of manga and anime as reading phenomenon in Japan, in Brazil and in the West. One presents the genres and subgenres of these reading medias, differentiating them according on the targeted readership, verifying their specificities, their thematic classification and their internal classification accordant to female and male subjects and their age rate. Ultimately, one ascertains changes in the representation of Japanese culture, society and ideologies part of manga and when this is transposed into anime as a response to a demanding reader from outside of Japan.

La investigación social, sobre todo la de orden cualitativo, se le ha categorizado de imprecisa, es importante recalcar que sin este tipo de investigaciones no tendríamos idea de cómo es que se organizan o viven las personas y cómo estas han estado conviviendo con sus semejantes y con lo que le rodea. Aunque el problema es estudiar a las sociedades a través de una o varias personas, se debe decir que no sólo el observarlos nos dará referentes sobre estas personas, los datos estadísticos e incluso los datos geográficos e históricos nos darán las pautas y el camino que se debe seguir para poder concluir esta investigación. Hablar de jóvenes y las actividades que ellos realizan tiene un gran precedente, la juventud es uno de los temas sociales relevantes ya que ellos son parte de la sociedad, es por eso que saber cómo se organizan y sobre todo cómo pasan su tiempo libre es de suma importancia, sobre todo de aquellos jóvenes que tienen un nivel educativo mayor o igual al bachillerato y los cuales se podría decir que la mayoría de ellos tienen una relación estable con las instituciones como los son la familia, jóvenes que se dejan llevar por el mercado global, el cual se apropian y lo mezclan con el mercado nacional. Este tema nació a partir de la curiosidad que se tiene por los jóvenes que se disfrazan como un personaje de animación japonesa, además de que se apropian del mismo personaje, al punto de invertir mano de obra al crear los aditamentos (promps) que los personajes portan, crear el vestuario y maquillarse como tales. También se quiere saber cómo se apropian de una identidad y el porqué deciden vestirse de esa manera, así como verlos interactuar en eventos de este tipo. El objetivo general de esta investigación es dar a conocer los elementos que intervienen para que un joven, que reside en la ciudad de Toluca, sea un cosplayer, es decir un joven que se disfraza de un personaje de ficción como mangas, anime, videojuegos, etc., además de conocer cómo los jóvenes cosplayers interactúan en convenciones y sesiones fotográficas con todas las personas que forman parte de éstas, es por eso que se pretende asistir a la TNT y a la Magyc para observar a los cosplayers interactuando entre sí, también se pretende asistir a una sesión fotográfica y así poder sacar nuestras conclusiones de acuerdo a los resultados obtenidos en éstas. También se quiere saber de qué manera los jóvenes que practican el cosplay buscan ser similares al personaje que desean representar, observándolos en los ambientes en los cuales se desenvuelven a la hora de realizar y vestir un cosplay.

Lo sviluppo delle tecnologie di manifattura additiva (AM) ha determinato il progressivo miglioramento di tali processi, sia in termini di proprietà meccaniche che estetiche dei manufatti prodotti; allo stato attuale, l'utilizzo di tecnologie AM per la creazione di prototipi o modelli base da cui derivare i prodotti finiti, copre solamente una parte limitata dello spettro degli effettivi usi di tali processi. Di recente applicazione è l'utilizzo di queste tecniche come sostituto ai più tradizionali processi di fabbricazione di attrezzi impiegati in processi di formatura: le cosiddette tecnologie di Rapid Tooling (RT). Per quanto riguarda la produzione di attrezzi di formatura per materiali compositi, questa tecnica risulta essere estremamente competitiva rispetto alle lavorazioni tradizionali laddove sia richiesta la produzione di manufatti cavi in bassi volumi. Partendo da una panoramica delle attuali tecnologie AM e dei materiali compositi, vengono introdotti i processi RT e, in particolare, vengono spiegate nel dettaglio le potenzialità di tale tecnica in relazione alla tecnologia Fused Deposition Modeling. L'obiettivo di tale tesi è determinare quali siano le migliori combinazioni dei parametri di stampa del processo FDM, eseguendo valutazioni basate sulla resistenza dei manufatti, sul tempo di produzione e sul costo complessivo del processo. A questo scopo è stata eseguita una pianificazione statistica degli esperimenti, in modo da investigare tutte le possibili combinazioni date dai fattori considerati, ovvero il riempimento interno e l'orientamento di stampa. I provini realizzati sono stati sottoposti a prove di compressione uniassiale quasi-statica, da cui sono state ricavate le curve forza-spostamento per ogni tipologia di struttura testata. I dati presentati sono quindi stati discussi secondo due indici di merito, il primo relativo alla resistenza dalle strutture in relazione alla loro massa e il secondo in relazione al loro costo produttivo.

The association between nostalgia, nature and disenchantment has been and still is a very common trope in cultural and literary studies (Saler 138) within the scope of modernity. In fact, it has almost become “a cliché of our time” (Saler 138) in which people often view modern experience as an oppressive status of disillusionment rather than a liberating condition of enlightenment. Since this thesis aims to open up and point at different dimensions of modernity and become “part of a grandiose modernist project yet to be finished” (Hu 23-4), I would like to use Miyazaki’s works to argue that modernity is never a simple, one-sided condition of being ‘disenchanted’ as proclaimed by many scholars. In order to pinpoint some of the contradictory impulsions and potentialities of the experience of modernity, this thesis would first start with a brief overview on the ideas of ‘disenchantment’ and ‘nostalgia’ and their relations to the experience of modernity. The second part would be a general introduction to Miyazaki’s anime, briefly introducing his works in terms of style, content, characterization and such. In particular, I would like to point out how Miyazaki’s works have created alter-tales about disenchanted modernity by showing the multiple facets of modern life and exploring the possibility to (re)enchant modern experiences through his childlike protagonists and the fantastical form of anime. Part three to five would be comprehensive textual analyses about Laputa: Castle in the Sky (1986), Nausicaa of the Valley of the Wind (1984) and Spirited Away (2001) respectively, examining their relationships with and responses to the ambivalent experiences of modernity. The concluding part of this thesis would reflect on the contribution as well as the limitation of my research in regards to the writing of modern experiences and the ongoing modernist project.<br>published_or_final_version<br>Literary and Cultural Studies<br>Master<br>Master of Arts

This thesis is concerned with the Disneyfication of the last three Studio Ghibli films directed by Hayao Miyazaki and how the globalizing agent of Walt Disney Studios has transformed the paratextual marketing campaigns of these films. This thesis poses the following research questions: to what extent can we describe Howl's Moving Castle/Hauru no ugoku shiro (Hayao Miyazaki, 2004), Ponyo on the Cliff by the Sea/Gake no ue no Ponyo (Hayao Miyazaki, 2008) and The Wind Rises/Kaze tachinu (Hayao Miyazaki, 2013) as Disneyfied texts? How do the adherence of Hollywood star-images act to Disneyfy the Ghibli (para)text? How do the auteur-star and author functions involved in the re-marketing of Ghibli products contribute to the Disneyfication systemscape? Which aspects of the English-language promotional paratexts point directly to the application of Disneyfication? It is the hypothesis of this thesis that Disneyfication practices can be primarily located within the application of star-images and auteur brand-names to the promotional campaigns of the aforementioned triptych. First, this thesis assesses the various theoretical frameworks pertaining to the area of Disneyfication and how this concept relates to the case studies addressed in this thesis. Secondly, this thesis demonstrates through an overview of both animation history and global consumption trajectories the point at which Disneyfication is adhered to the Ghibli text. Next, this thesis focuses in on the specificities of Disneyfication at work by looking closely at which specific star-images and brand-names are attached to the films in order to contextualise them for a Western audience. Finally, it demonstrates how these facets combine by deconstructing key facets of the three promotional campaigns. In short, this thesis exists to examine the role of Disneyfication within the late era of Studio Ghibli animation and what the implications of these effects are upon the marketing strategies deployed within the American (and global) marketplaces.

L’elaborato si propone di indagare dettagliatamente le ragioni che hanno portato alla nascita dei cosiddetti millennial monsters giapponesi, cioè quell’insieme di personaggi e creature d’immaginazione che, partendo dal Giappone, hanno invaso pacificamente il mercato globale dell’intrattenimento e di individuare le dinamiche di diffusione della cultura popolare nipponica tramite svariati media, ponendo particolare enfasi sulle due manifestazioni più importanti di essa: anime e manga. Dopo un primo capitolo che funge da introduzione, dove sono descritte in linea generale le caratteristiche dei monster e il valore economico e affettivo che hanno, seguono due capitoli che, benché separati, sono accomunati dalla medesima logica: fornire un quadro minuzioso dei motivi per cui tali personaggi e medium sono così importanti nell’immaginario popolare giapponese, tramite un’analisi storica, sociologica ed economica del periodo 1945-60, nel primo caso; e del periodo compreso tra gli anni settanta e il nuovo millennio, nel secondo. Naturalmente fenomeni di così grande impatto e rilevanza non mancano di causare ripercussioni, talvolta anche negative, sul tessuto sociale: questa è la principale motivazione per cui all’interno della tesi è stato dedicato un intero capitolo allo studio della sottocultura otaku, eseguito tramite un approccio sociologico e filosofico. Infine, gli ultimi due capitoli sono incentrati rispettivamente su anime e manga, trattati partendo da due diverse prospettive: nel primo caso è stato privilegiato l’aspetto tecnico, fornendo una descrizione particolareggiata del settore industriale dell’animazione giapponese; nel secondo, più l’aspetto culturale, fornendo le giustificazioni per cui un maggiore sforzo accademico nello studio del fumetto è tanto necessario quanto di difficile realizzazione e una panoramica sul manga dagli anni sessanta fino al nuovo millennio.

L'elaborato presenterà un'analisi sulla rappresentazione LGBTQ (Lesbian, Gay, Transgender, Queer) all'interno dei media giapponesi, specificatamente anime e manga. Sarà diviso in tre capitoli, nei quali si presenterà nello specifico la rappresentazione di personaggi gay (primo capitolo), lesbici (secondo capitolo) e transgender/gender non-conforming (terzo capitolo), più introduzione e conclusione.

Seminario de Investigación Tesis para optar al grado de Licenciado en Comunicación Social<br>El autor no autoriza el acceso a texto completo de su documento<br>El objetivo de la presente investigación es estudiar la lectura de la japoanimación a través del dibujo infantil, concretamente la lectura de la serie "Pokémon". Los dibujos provienen de niños y niñas, entre los 6 y 13 años de edad, de sectores medios, recolectados en la Quinta Región. Los protocolos empíricos de lectura de la japoanimación no han sido estudiados, siendo el caso de la japoanimación y sus efectos, una preocupación de la sociedad chilena. Esto se ve reflejado en la gran cantidad de artículos y reportajes aparecidos recientemente en todos los medios masivos de comunicación. El Consejo Nacional de Televisión ha realizado estudios de audiencia infantil, detectándose un alto consumo de la japoanimación. También se ha estudiado la percepción de los niños de los contenidos de violencia de dichas series. Sin embargo, el instrumento utilizado ha sido fundamentalmente lingüístico: el cuestionario. Éste presenta la limitación que, en las preguntas planteadas, ya va enunciada la problemática a los niños. De esta manera, se prefigura la respuesta de antemano. Es por ello, que pienso que mi investigación contribuirá a la descripción de un espacio no antes visto: la lectura empírica de los niños a través del dibujo. De esta manera, la investigación realizada, permite a los niños dibujar libremente a los Pokémon, sin colocarles la pregunta, sino que descubrir en los dibujos mismos, su visión, su lectura de la Pokemanía. El objetivo, entonces, es aprehender la lectura visual de los niños respecto del fenómeno Pokémon, detectada en el dibujo. Se trata de un estudio exploratorio, de índole semiótico, que tiene como intencionalidad descubrir un modelo interpretativo de la percepción visual de los niños de la Pokemanía, susceptible a desarrollar posteriores investigaciones que enfrenten el fenómeno y a descubrir la viabilidad inferencial o estadística de la interpretación estatuida. El razonamiento para seleccionar como tema de investigación a la serie animada Pokémon, radica en que, en la actualidad, es la de mayor sintonía nacional, y su línea de merchandising tiene la mayor demanda a nivel internacional. Además, la película de igual nombre - estrenada mundialmente hace unas semanas -, ha arrasado con todos los récords de taquilla del segmento de films animados, y, amenaza con hacer lo mismo en el total de géneros del universo cinematográfico. Lo anterior quedó en evidencia al solicitar a más de 200 niños de 6 a 13 años de edad de la Quinta Región, dibujos – a libre elección - de la serie de monos animados de su preferencia. De los dibujos recbidos, los resultados dieron como mayoritario – con un 85% aproximado del total del universo – al subconjunto compuesto con representaciones de mundo Pokémon. Así, se confirmó mi apreciación acerca de la popularidad actual de la serie y se determinó que sería la japoanimación a analizar en profundidad.

Kon Satoshi's Paranoia Agent is a series that demonstrates how many types of identity are constructed. While some aspects of the series are based in fantasy, Paranoia Agent takes place in a Tokyo that closely resembles the Tokyo of the real world. In particular, a corporate icon named Maromi parallels the rise of icons such as Hello Kitty in Japan; the public's devotion to Maromi demonstrates how consumerism shapes one's personal identity. Consumerism can also be used to explain the existence of Lil' Slugger, a type of phantasm who initially appears to free the people of Tokyo from their problems, but is actually a "crutch" that society uses to run away from reality. The destination of this escape can be called "consumutopia," a virtual space of "perfect consumption" where reality can be ignored. Consumutopia is one example of the - real or metaphorical - "spaces" that are examined in Paranoia Agent.

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-03-02T19:40:57Z No. of bitstreams: 2 Dissertação - Genis Frederico Schmaltz Neto - 2013.pdf: 3507314 bytes, checksum: eec5eb509427325b1c0c4796bd62a6b8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-03-03T12:32:27Z (GMT) No. of bitstreams: 2 Dissertação - Genis Frederico Schmaltz Neto - 2013.pdf: 3507314 bytes, checksum: eec5eb509427325b1c0c4796bd62a6b8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Made available in DSpace on 2016-03-03T12:32:27Z (GMT). No. of bitstreams: 2 Dissertação - Genis Frederico Schmaltz Neto - 2013.pdf: 3507314 bytes, checksum: eec5eb509427325b1c0c4796bd62a6b8 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-02-27<br>Anime are japanese narratives that blend the art of manga to film productions, and has become the subject of discussion in academia by particularizing the Nipponese pop culture or the fantastic reception from the West, making it about 60% of its programming in television channels open. Drawing on the Anthropology of the Imaginary postulated by G. Durand, based in Semiotics discourse practiced by A. J. Greimas and his followers, as well as studies of postmodernity by M. Maffesoli, this dissertation took the symbolic structures as corpus of discursive anime Death Note. The narrative tells the journey of Light Yagami, a young student from Japan who finds a notebook belonging to a Japanese reaper named Ryuk, where names are written may have manipulated their deaths. The images of anime break with moral paradigms when your central character seems to violate the archetypal hero and enter the building of a new constellation of statements that connect the notion of justice, while that allow merge the West. Questioned as myths and what shape or reframe the narrative, and how they reflect a cultural imaginary Japanese, using it for the mitodologia and semiotics of passions. They came up to the mythical traits of Siddharta, Adam and Paradise Lost when analyzed Mouse Yagami, the main character, the mythical traits of Our Lady, Eve, Lilith and Isis when analyzed Misa Amane, and traces of mythic Trickster, Prometheus inverted and Apollo when analyzed shinigami Ryuk. These images mean or fail to mean in contemporary society, highlighting the plurality of new thinking being built on what we call postmodernity.<br>Animês são narrativas japonesas que mesclam a arte de mangás a produções cinematográficas, e tem se tornado objeto de discussão no meio acadêmico seja por particularizar a cultura pop nipônica ou pela fantástica receptividade por parte do Ocidente, tornando-se aproximadamente 60% de sua programação em canais de televisão aberta. Valendo-se da Antropologia do Imaginário postulada por G. Durand, alicerçado a Semiótica Discursiva praticada por A. J. Greimas e seus seguidores, bem como dos estudos da pósmodernidade de M. Maffesoli, esta dissertação tomou como corpus as estruturas simbólicas discursivas do animê Death Note. A narrativa conta a jornada de Yagami Raito, um jovem estudante do Japão que encontra um caderno pertencente a um ceifeiro nipônico chamado Ryuk, onde nomes que forem escritos podem ter suas mortes manipuladas. As imagens desse animê rompem com paradigmas morais quando seu personagem central parece violar o arquétipo do Herói e se inserir na construção de uma nova constelação de enunciados que enlaçam a noção de Justiça, ao mesmo tempo em que se permitem mesclar ao Ocidente. Questionou-se como e quais mitos configuram ou se resignificam na narrativa, e de que forma eles refletem um imaginário cultural japonês, valendo-se para isso da mitodologia e da semiótica das paixões. Chegaram-se-se aos traços míticos de Siddharta, Adão e o Paraíso Perdido quando analisado Yagami Rato, o personagem principal; aos traços míticos de Nossa Senhora, Eva, Lilith e Isis quando analisada Misa Amane; e aos traços míticos de Trickster, Prometeu invertido e Apolo quando analisado o shinigami Ryuk. Perceberam-se como tais imagens significam ou deixam-se significar na sociedade contemporânea, evidenciando a pluralidade de um novo pensamento sendo construído no que chamamos pós-modernidade.

Made available in DSpace on 2016-04-26T18:12:54Z (GMT). No. of bitstreams: 1 Gabriel Theodoro Soares.pdf: 2562292 bytes, checksum: 2cd4c70928b7f3564c4c297898c3ceaa (MD5) Previous issue date: 2013-05-10<br>It is necessary to understand how images relate to us and the effects they cause in our bodies. This research analyzes cosplay (costume play, the activity of dressing as characters, generally from games, cartoons or movies) in conventions about Japanese animations, where there is a blend between Japanese pop culture and Brazilian culture. This creates a marginal culture still not well studied in communication, despite being so rich. The images, which are the characters created by that culture, utilizes people s bodies via cosplay to make themselves part of the material world. Why people consume and let themselves be consumed by them is what we want to find out in this research, after all, they are still so mysterious and need more scientific glances at all of their manifestations, so they can be better understood. For this, we will use Vilém Flusser s concept of image and Norval Baitello Jr. s iconophagy, which proposes we are more and more consuming and being consumed. The objectives of this research are to understand how an image can subdue a body, considering its iconophagic features that devours the body and take its place, and analyze how they are closer to us than we often imagine. Cosplays will be analyzed inside Brazilian anime conventions, more specifically in São Paulo, where the biggest conventions in the country happens. The most plausible hypothesis is that people do cosplay in order to be part of a group of Japanese pop culture fans, to be recognized by this group, to find themselves in this group and, as said Boris Cyrulnik, to let themselves be enchanted by it<br>É necessário entender como as imagens se relacionam conosco, e os efeitos que elas causam em nosso corpo. Esta pesquisa analisa cosplays (costume play, a atividade de se fantasiar de personagens, geralmente de games, desenhos e filmes) em eventos de animação japonesa, onde há a uma mistura entre a cultura pop japonesa e a cultura brasileira. Isso cria uma cultura marginal, que ainda é pouco estudada na área de comunicação, apesar de tão rica. As imagens, em forma de personagens criados por essa cultura, se utilizam, por meio do cosplay, do corpo das pessoas para se fazer presentes no mundo material. E o motivo pelo qual pessoas consomem e se deixam consumir por essas elas é o que pretendemos descobrir nesta pesquisa, afinal, são ainda tão misteriosas e necessitam de mais olhares científicos em todas as formas em que elas se apresentam, para serem entendidas melhor. Para tal, utilizaremos os conceitos de imagem de Vilém Flusser, de que estas são superfícies que pretendem representar algo, e a iconofagia de Norval Baitello Junior, segundo o qual estamos cada vez mais consumindo e sendo consumidos por imagens. Os objetivos desta pesquisa são entender como uma imagem pode dominar um corpo, observando o caráter iconofágico dela, que devora o corpo e toma seu lugar, e analisar como elas estão mais próximas de nós do que muitas vezes imaginamos. Os cosplays serão analisados dentro de eventos de animação japonesa que ocorrem no Brasil, principalmente em São Paulo, que tem os maiores eventos do país. A hipótese que parece mais plausível é de que as pessoas fazem cosplay para pertencer ao grupo dos fãs de cultura pop japonesa, para serem reconhecidos por esse grupo, se encontrarem nele e, assim, como diz Boris Cyrulnik, se deixarem encantar por ele

This thesis ethnographically examines the globalising of the Japanese animation (anime) business in the context of the creative industries, of Japan's politico-economic position in Asia, and of brokerage. Influencing the world's entertainment, creators, and youth culture, anime is one of the crucial lenses through which one can examine Japan's presence in the world. Despite the prevalent assumption that anime is globally popular, this thesis highlights the precarious performance of the anime business overseas, and examines it through an entrepreneurial anime business project trying to bridge the Japanese anime business into the Indian market. The ethnography of the project centres on its founding entrepreneur, focusing on how he tried to ally with insiders in the Japanese anime sector and the Indian market. The thesis's 12-month fieldwork accompanied his business in Japan (Tokyo) and India (Delhi), revealing a perspective of the entrepreneur as a broker who intermediates between the discrepant positions of his stakeholders to keep his business afloat. It also highlights the two most critical discrepancies: the dichotomies of art versus commerce (one of the central topics in creative industries studies) and the 'Japanese' versus 'Indian' ways of doing business (one of the prominent topics in Japan's political economy vis-à-vis the Asian region). The ethnography found the entrepreneur's liminal dual agency in bridging, blurring and reorienting the dichotomies was a driving force carrying his business forward. This thesis counterbalances previous anthropological studies on the creative industries (including anime) that tend to advocate the centrality of creators and fans, by focusing on the businessperson in a creative project. It also suggests that the broker is a crucial point of reference when examining how to create workable compromises between art and commerce, and allowing Japanese and Asian businesspeople to get along. The thesis also enhances our understanding of entrepreneurship by revealing most of its function as brokerage.

La globalización afecta en varios aspectos a los diferentes países del mundo y prueba de esta inevitable convergencia de culturas es el anime y el impacto que éste ha tenido y sigue teniendo a nivel mundial. Por ello, en el siguiente trabajo de investigación se tiene como objetivo general, hacer un análisis del proceso de transculturación del anime Naruto en la generación Y y Z de la comunidad otaku en Lima desde el año 2000 hasta la actualidad, y teniendo como objetivos específicos, analizar la influencia del anime en la formación de su identidad y analizar de qué manera la narrativa del anime influye en que este se mantenga como un fenómeno global. Estudiosos como: Luis Vidal y Alessandra Gamarra, han tomado a Naruto para explicar, por un lado, la influencia cultural que ejerce el anime y la formación de una nueva subcultura a partir de ésta. Por otro lado, la representación del odio y la violencia bélica en los caminos del dolor de Pain. En otros países de Latinoamérica también se han venido desarrollando diferentes estudios en relación al anime y su influencia, desde un punto de vista audiovisual como sociológico. Por último, en cuanto a los sujetos de estudio en esta investigación: se tiene al anime de Naruto y personas dentro de los 18-30 años, fanáticos del anime.<br>Globalization affects in different aspects the different countries of the world and proof of this inevitable convergence of cultures is anime and the impact that it has had and continues to have worldwide. Therefore, in the following research work, the general objective is to make an analysis of the transculturation process of the Naruto anime in generation Y and Z of the otaku community in Lima from 2000 to the present, and having specific objectives , analyze the influence of anime on the formation of their identity and analyze how the anime narrative influences that it remains a global phenomenon. Scholars such as: Luis Vidal and Alessandra Gamarra, have taken Naruto to explain, on the one hand, the cultural influence exerted by anime and the formation of a new subculture from it. On the other hand, the representation of hatred and war violence in Pain's pain paths. In other Latin American countries, different studies have also been carried out in relation to anime and its influence, from an audiovisual and sociological point of view. Finally, as for the study subjects in this research: you have Naruto anime and people within the range of 18-30 years old, anime fans.<br>Trabajo de investigación

Bakalauro baigiamajame darbe nagrinėjamas otaku kultūros tapatumo formavimas Šiaulių Japonijos kultūros entuziastų klube „Yorokonde“. Darbą sudaro dvi dalys: teorinė ir praktinė. Teorinėje dalyje analizuojamos įvairių autorių tapatumo teorijos, kalbančios apie savikonstrukciją ar socialiai sukonstruojamą asmenį. Taip pat nagrinėjami skirtingi požiūriai į popkultūrą. Empirinėje dalyje rekonstruojama Japonijos kultūros plitimo chronologija, aiškinamasi otaku sąvokos problematika ir reikšmė. Analizuojamas otaku tapatumas ir jo formavimas per otaku veiklą. Išskiriama anime ir mangos svarba susidomėjimui Japonijos kultūra, iš to kylančios naujos kategorijos. Aiškinamasi kas yra cosplay bei kaip tai siejasi su pankiškosiomis „Do-it-yourself“ idėjomis. Nagrinėjamas homoseksualių mangų žanras yaoi, bei japonų kalbos įterpimas otaku kalboje.<br>The Bachelor‘s thesis analyses otaku cultural identity formation in Šiauliai Japanese culture enthusiasts club „Yorokonde“. The work consists of two parts, theoretical and practical. The theoretical part analyses the various authors talking about identity theories of self construction or socially constructed person. It also examines different approaches to the pop culture. In the empirical part Japanese culture spreading chronology is reconstructed. The concept of otaku term issues and implications is examined. Otaku identity and its formation through the activities of the otaku is analysed. Anime and manga importance to the interest of Japanese culture is extracted in the work.Examined relation between punk „Do-it-yourself“ ideas and cosplay, and also what cosplay is. Examined homosexual manga genre yaoi, and Japanese language usage in otaku speech.

Orientador: Claudiney Rodrigues Carrasco<br>Acompanha 1 DVD-R DL Recordable<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T02:58:46Z (GMT). No. of bitstreams: 1 Chritaro_GustavoRocha_M.pdf: 2779207 bytes, checksum: 36c364413fdb91f0537ab70583dc27f4 (MD5) Previous issue date: 2009<br>Resumo: Este trabalho tem como proposta analisar o uso do jazz no cinema de animação japonês, através de um estudo de caso que tem como objetivo o longa-metragem de animação "Metrópolis" (2001), dirigido por Rintaro, com roteiro de Katsuhiro Otomo, e música de Toshiyuki Honda. A metodologia que escolhemos foi a de estabelecer conexões com a literatura específica da área de trilhas sonoras, e dialogar com o pensamneto de outras áreas, como a filosofia e a crítica literária Além disso, foram feitas exposições formais sobre a parte técnica da trilha musical e a partir de então, foram realizadas uma síntese entre a literatura e o procedimento de análise<br>Abstract: This work intents to analyse the use of jazz music in the Japanese animated cinema , trough a case study that has as object the feature-film "Metropolis" (2001),direct by Rintaro, screen-played by Katsuhiro Otomo , and underscored by Toshiyuki Honda. The methodology we have chosen was that of establishing connections with the film music specific writings, and dialoging with the thinking of other areas, such as philosophy and literary criticism. Formal exposition about the form music technical characteristics was also made, and then a synthesis was made between the literature and the analyses procedure<br>Mestrado<br>Mestre em Música