Relevant bibliographies by topics / Franchisors, Japanese

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  1. Journal articles
  2. Dissertations / Theses
  3. Book chapters

Academic literature on the topic 'Franchisors, Japanese'

Author: Grafiati
Published: 19 February 2023
Last updated: 20 February 2023

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Journal articles on the topic "Franchisors, Japanese"

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Benson, Anya C. "BecomingPurikyua: Building the lifestyle-text in Japanese girls’ franchises." Contemporary Japan 31, no. 1 (December 23, 2018): 61–78. http://dx.doi.org/10.1080/18692729.2018.1558023.

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Laroche, Michel, Ikuo Takahashi, Maria Kalamas, and Lefa Teng. "Modeling the selection of fast-food franchises among Japanese consumers." Journal of Business Research 58, no. 8 (August 2005): 1121–31. http://dx.doi.org/10.1016/j.jbusres.2004.01.007.

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Denison, Rayna. "Adaptation in Japanese media mix franchising: Usagi Drop from page to screens." Journal of Adaptation in Film & Performance 12, no. 3 (December 1, 2019): 143–61. http://dx.doi.org/10.1386/jafp_00003_1.

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Abstract Japanese media franchising is normally discussed in relation to long-running chains of serial transmedia production known in Japan as 'media mix'. I argue that this focus on the biggest of Japanese franchises is over-determining how we conceptualize the flows of adaptation in Japanese media culture. Therefore, in this article, I focus on a short-lived franchise based around Yumi Unita's manga Usagi Drop (literally, Bunny Drop, 2009‐11) in order to think about the media mix as a set of relational adaptation processes. In the space of just a few months in 2011, this manga about a young man adopting his grandfather's illegitimate daughter became the seemingly unlikely source of a transmedia franchise that included television animation and live action film. Focusing on such a short-lived cycle of production allows me to reconsider how Japanese franchise media texts relate to one another, and to decentre anime as the defacto core medium in Japanese franchising. Expanding the view of Japanese media mix adaptations, I consider how both internal and external factors can influence media franchising and adaptation practices in contemporary Japan. Retracing the production discourses around the creation of the Usagi Drop franchise therefore allows me to reconsider the concept of media mix as adaptation practice and process in Japan.
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Bautista, Roehl Niño. "Ken(shin)do(es it): Exploring Anime Fandom as a Driving Motivation in Practicing Martial Arts." Plaridel 16, no. 2 (2019): 91–112. http://dx.doi.org/10.52518/2020.16.2-04btista.

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Mass media has long been known for its capacity to influence and inspire its audience. Aside from being able to motivate viewers to consume a product and to participate in a real-world event, it can also spur them to engage in activities that are related to a television show’s theme. In connection with this last point, this study explores the link between the Japanese manga, anime, and movie series and cultural product Rurouni Kenshin and the Filipinos’ motivation in joining a kendo club. A survey of 50 Filipino kendoka or kendo practitioners, which covers questions regarding their exposure to the anime, movie, and/or manga versions of Rurouni Kenshin and their reasons in practicing the martial art, reveals the franchise’s significant influence on them, together with other factors such as generic interest in Japanese culture, self-improvement, and other media product influences.
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Satomi Saito. "Beyond the Horizon of the Possible Worlds: A Historical Overview of Japanese Media Franchises." Mechademia: Second Arc 10 (2015): 143. http://dx.doi.org/10.5749/mech.10.2015.0143.

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Wilde, Lukas R. A. "Kyara revisited: The pre-narrative character-state of Japanese character theory." Frontiers of Narrative Studies 5, no. 2 (November 28, 2019): 220–47. http://dx.doi.org/10.1515/fns-2019-0014.

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AbstractThis article proposes to take a closer look at a variety of contemporary Japanese “character” franchises which cannot be accounted for if the entities in question are primarily understood with reference to diegetic worlds or stories. Rather, virtual idols like Hatsune Miku, fictional mascots like Kumamon, or notorious product placement figures such as Hello Kitty all seem to circulate mostly on non-narrative artifacts such as clothes, office supplies, or decontextualized artworks, and within mediated performances such as stage musicals, cosplay, or public appearances in full-body suits. They are nevertheless quite typical for the Japanese “media mix” franchising model, designed to allow for user-level reshuffling and reenactment. Such “characters without stories,” or kyara, are thus best understood as “mediated performers,” as fictional actors that can take on any fictional role attributed to them within the participatory cultures and collective creations of fan manga (dōjinshi), fan artworks, or even cosplay. Theorists such as Itō (2005) or Azuma (2009) therefore differentiate sharply between kyarakutā und kyara, the latter being a pre- or meta-narrative “nodal point” for diverging games of make-believe. Kyara can just as easily be enacted and performed as they can be brought back into narrative (kyarakutā) contexts. The following article relates and contrast these notions to international (“Western”) character theories and argues for their relevance beyond “exotic” Japanese contexts.
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Tamrin Tajuddin, Aprisa Rian Histiarini, Asih Ahistasari, and Muhammad Rizky Hamunta. "USULAN RANCANGAN SISTEM USAHA WARALABA PADA RUMAH MAKAN SAWAYAKA SUSHI." Metode : Jurnal Teknik Industri 8, no. 2 (October 20, 2022): 71–80. http://dx.doi.org/10.33506/mt.v8i2.2019.

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Franchise is a business activity using the method of granting licenses, trademarks, copyrights, or patents from the franchisor to the franchisee. Sawayaka Sushi is a franchise business that offers Japanese food products. Sawayaka Sushi is currently incomplete and does not cover all activities at Sawayaka Sushi. The restaurant owner has plans to expand his business by applying the improved franchise system to the new Sawayaka Sushi restaurant. The system that will be used is a franchise system that matches the Sawayaka Sushi restaurant. Therefore, the old Sawayaka Sushi business system will be evaluated and with this evaluation a new system will be created and can be proposed as a franchise business system at the Sawayaka Sushi restaurant. To find out whether Sawayaka Sushi's business is eligible to become a franchise or not, a franchisability study is used, namely from a qualitative and quantitative perspective. In the marketing strategy used SWOT analysis. The results obtained based on the business feasibility aspect show that the Sawayaka Sushi business can be said to be feasible. The payback period of the Sawayaka Sushi franchise is 2 years 7 months, the NPV generates a positive value of IDR 57,639,635. Internal Rate of Return (IRR) of 28.316% is declared acceptable.
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Antononoka, Olga. "Undermining the gendered genre: Kabuki in manga." Mutual Images Journal, no. 10 (December 20, 2021): 109–34. http://dx.doi.org/10.32926/2021.10.ant.under.

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According to Jaqueline Berndt, Thomas LaMarre, and other critics, manga is a highly participatory media form. Narratives with vibrant characters and creative inconsistences in the plotline encourage the reader to recontextualise the text, create new contents and unfold activities which go beyond reading (such as fan art and CosPlay). Recent popularity of manga about Japanese traditional arts – for example, Kabuki – further expanded the potential interaction with manga and other popular media to include (re)discovering traditional Japanese culture. Examples, such as Kabukumon by Tanaka Akio and David Miyahara (Morning 2008-2011), or Kunisaki Izumo no jijō by Hirakawa Aya (Weekly Shōnen Sunday 2010-2014) and a variety of other manga, anime and light novels exemplify this tendency. Consequently, influential franchises, such as Naruto and One Piece boast adaptations as Super Kabuki stage-plays. Furthermore, Jessica Bauwens-Sugimoto observes how thematic and stylistic overreaching in contemporary manga further distort the notions of the gendered genre that lays at the foundation of the manga industry. In this case, Kabuki theatre as a theme employs a variety of gender fluid characters and situations. For this purpose, Kabuki manga utilise cross-genre narrative and stylistic tropes, from overtly parodying borrowed tropes, to homage, and covert inclusions. On the example of Kabuki-manga I will explore a larger trend in manga to employ elements of female genres in male narratives, thus expanding the target readership. My paper explores specific mechanism that facilitates reading manga cross-genre, I also inquire what novel critical potential thematic and stylistic exchange between audiences may entail.
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Boyd, David John. "Affective Anachronisms, Fateful Becomings." Screen Bodies 6, no. 1 (June 1, 2021): 78–102. http://dx.doi.org/10.3167/screen.2021.060107.

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This article examines the temporal and phenomenological philosophies of Gilles Deleuze, Félix Guattari, and Paolo Virno, specifically in relation to the transmedia franchises of the Japanese game studio, Type-Moon. Against linear, national, and majoritarian grand narratives of the historical, the otaku artists, writers, and developers responsible for the Fate series postulate whether it is possible to harness the intense and affective forces described by Jay Lampert as “the Joan of Arc effect” in the blink of an eye or in the palm of your hand. Through a philosophical and formal analysis of three spinoff series from the Fate franchise, this article investigates how Type-Moon’s deployment of the “anime machine” encourages its viewers and users to see and feel the abundance of flowing “nomadic memories” or counter-historical visions from the perspective of minor populations. Through this highly embodied and tactile experience of transhistorical (un)becomings, Type-Moon’s series offer a deterritorialized, post-national world-image of the otaku database which mediates between the overloading affects of becoming-woman and the digitally encoded logic of transversal through the frames, windows, interfaces, devices, platforms, and bodies that constitute Type-Moon’s vibrant anime ecology.
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Hemmann, Kathryn. "Queering the media mix: The female gaze in Japanese fan comics." Transformative Works and Cultures 20 (June 20, 2015). http://dx.doi.org/10.3983/twc.2015.0628.

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The Japanese expression "media mix" refers to multimedia marketing strategies for entertainment franchises. Although such franchises are commonly understood as being controlled by large corporations, the fans of these media properties make significant contributions to the mix, often expanding on the central themes of the source texts and queering them by rendering their subtexts explicit. In dōjinshi, or self-published fan comics, female readers create their own interpretations of stories, characters, and relationships in narratives targeted at a male demographic. In BL (boys' love) fan comics, which are notable for their focus on a romantic and often physical relationship between two male characters, the female gaze has created its own overtly homoerotic readings and interpretations that creatively subvert the phallocentrism implicit in many mainstream narratives. The interactions between texts and their readers found in dōjinshi illustrate how cycles of narrative production and consumption have changed in the face of active fan cultures. Because of the closely interrelated nature of the components of increasingly international media mixes, communities of fans have the potential to make positive and progressive contributions to the media mix ecosystem.
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Dissertations / Theses on the topic "Franchisors, Japanese"

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Chen, Hui-Heng. "A Study of the Impact of Culture on International Business Format Franchising: The Case of Taiwan." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/366163.

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The focus of this research thesis is to examine the impact of culture on international franchising strategies adopted by American and Japanese international franchisors when entering Taiwan. Franchising has, over many decades, been demonstrated as a highly successfully means of engaging in commercial business operations. Franchising is a market related business method that is based on contractual arrangements that delineate responsibilities, decision rights and resources of the franchisor and franchisee. There are two recognised franchise systems comprising of the product/trade-name system and the business format franchise systems. In contrast to the product/trade-name system, the business format franchise system provides a complete and proven system of business operations and establishes an ongoing support relationship between franchisor and franchisees. In this thesis, the focus will be upon the business format franchise system. Franchising has expanded rapidly in domestic markets and also in the international marketplace. Franchisors have developed consumer confidence in their products/services and brand names through store design, recognisable arrangement of merchandise and high levels of service, which are consistent across franchise outlets. Franchisors provide customers with a range of quality-controlled options both in service industries and the consumer goods market.
Thesis (Masters)
Master of Philosophy (MPhil)
Griffith Business School
Griffith Business School
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Book chapters on the topic "Franchisors, Japanese"

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Hartzheim, Bryan Hikari. "Transmedia-To-Go: Licensed Mobile Gaming in Japan." In The Franchise Era, 233–55. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0011.

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Bryan Hikari Hartzheim examines how a growing number of top-grossing and popular mobile game titles are extensions of larger media franchises that also stem from other media properties. He posits the licensed mobile game as a flexible, promotional paratext within Japanese video game and anime transmedia franchises such as Dragon Ball and Final Fantasy. As such, his chapter considers the increasingly important role of ancillary, low-budget texts and how they can quickly adapt to changing market conditions to effectively monetize audience interests.
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Scrolavezza, Paola. "Menus for the Soul Changing Food Landscapes in Contemporary Japan." In Ca’ Foscari Japanese Studies. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-559-9/011.

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As Nancy K. Stalker (2018) points out, in recent years food in Japan has established itself as a fundamental feature of national and local identity and became one of Japan's most influential cultural brands. An intriguing example is the B-kyū gurume boom, the celebration of creative versions of typical comfort food, intertwined with the obsession for local traditions. Such processes are reflected in representations of food in media and arts: contemporary culture plays a fundamental role in shaping but also in connoting food culture with new meanings. The aim of this paper is to analyze the construction and narration of contemporary Japanese food culture in one of the most recent and successful franchises, Shin’ya Shokudō, the popular manga by Abe Yarō, which inspired the Netflix series that enjoyed unexpected international success in 2017.
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Ruh, Brian. "Ghostly Boundaries: Transnational Tensions and Adapting Animation in the Ghost In The Shell Franchise." In The Franchise Era, 141–57. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474419222.003.0007.

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Brian Ruh’s essay analyzes the representational politics in the Japanese-originated Ghost in the Shell franchise (1989-Present). Media franchises continue to struggle with representation, both in front of the camera (e.g., the marginalization of LGBTQ characters in franchise films) and behind it (e.g., a lack of female directors on franchise projects). As Ruh explains, Rupert Sanders’s 2017 American, live-action Ghost in the Shell adaptation sparked a controversy in representation after casting Scarlett Johansson in the lead role of Motoko Kusanagi.
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Pérez-Gómez, Miguel Ángel. "Augmented Reality and Franchising." In Advances in Business Strategy and Competitive Advantage, 90–102. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch007.

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In 1996, with the advent of video game franchises like Pokemon (Game Freak, 1996-), the concept of media mix (originally a Japanese concept that refers to the communicative strategies in which media content is spread across multiple platforms) began to take off. However, media mix is not exclusively limited to Japanese productions. In 2009, Novarama, in collaboration with Sony Computer Entertainment Europe, launched the Spanish Augmented Reality video game Invizimals. A decade later, this universe has notably expanded across different platforms, evolving considerably from its original format: but falling short of integrating the entire universe. In this chapter, we examine hybridation between transmedia strategies and media mix through the Invizimals universe to demonstrate how the franchise has expanded a decade later to the point where it has consolidated its own strategic model for developing content.
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