Nov
2023

Roundtable – Welcome to Anime/Manga Studies

categories: Announcements, Programs


TUESDAY, November 21
2:00 p.m. (Eastern time)
https://tinyurl.com/mvzedsxm (Zoom)

– Ever thought about writing a college paper on themes and images in Attack on Titan?
– Wanted to take a class on the history of girls’ manga?
– Are intrigued by a book on the many different ways that Japanese manga authors have adapted characters and images from Alice in Wonderland?

Just curious about what “anime and manga studies” even means?

Anime and Manga Studies Projects presents a live interactive discussion introducing the idea of scholarly approaches to Japanese comics and animation and the academic field of anime/manga studies.

  • What is anime and manga studies
  • What do we want to accomplish by approaching anime/manga this way?
  • What kinds of questions can we ask?
  • Who participates in this field
  • What themes and topics are anime/manga scholars interested in exploring?
  • Do I need to be a college professor to participate
  • Do I need to be a Japanese studies scholar to participate

For this discussion, a group of leading anime/manga scholars, from different backgrounds, and at different stages in their careers will share their thoughts, opinions, and experiences.

And we will be happy to answer any questions you may have – about how we chose this field, what exactly we do, and why – and how you too can join us!

Featuring:

Prof. Brent Allison
Social Foundations & Leadership Education
University of North Georgia

Prof. Mimi Okabe
Japanese Cultural Studies
University at Buffalo

author of
Manga, Murder and Mystery: The Boy Detectives of Japan’s Lost Generation

Zoe Crombie
PhD candidate, Film Studies
Lancaster University

Moderator: Mikhail Koulikov
(Executive Producer, Anime and Manga Studies Projects)

Have any questions you would like to ask the speakers, topics you want to see us talk about, issues you feel we need to discuss?

Please send your suggestions to mik@animemangastudies.com!


Nov
2023

Japan Foundation Presents – Mecha-Anime

categories: Announcements, Programs

In Anime: A Critical Introduction, Rayna Denison uses the phrases “a cultural phenomenon” and “a sliding, shifting category of media production” to describe Japanese animation. When we think about anime this way, it’s also only natural to consider different genres within anime – one of the most iconic is “mecha” – in the definition that Giuseppe Gatti succinctly provides – “narratives of giant robots piloted by a human within”.

Mecha anime first appeared in the 1970’s, and the genre then evolved in several different directions. Some of the most well-known Japanese animation films and television series of the last several decades belong to the genre, and every year, at least several others try to expand its possibilities. And, for that matter, it is also no surprise that mecha has also attracted a significant amount of scholarly interest – just some examples are essays such as Between the child and the mecha – a reading of the anime series Rahxephon as “an allegory of Lacan’s landmark description of the three stages of subject development”, and “Peace through understanding”: How science-fiction anime Mobile Suit Gundam 00 criticizes US aggression and Japanese passivity.

And now, on November 10, as a part of the Kotatsu Japanese Animation Festival 2023, the Japan Foundation, London is hosting animation journalist and scholar Ryota Fujitsu who will present a lecture on the history of mecha, the way the genre’s features have developed over the years, and some of drivers for these developments.

Friday, November 10, 2023
1:30 p.m. (Eastern time)
REGISTRATION

FUJITSU Ryota is one of Japan’s leading animation critics. He has lectured in the Animation Studies program at Tokyo Polytechnic University, and served as a programming advisor for the Animation Section of the Tokyo International Film Festival. His publications include アニメ「評論家」宣言 / Anime Hyoronka Sengen (Anime Critic’s Declaration), Tokyo: Fusosha, 2003, チャンネルはいつもアニメ――ゼロ年代アニメ時評 / Channeru wa Itsumo Anime: Zero Nendai Anime Jihyō (We’ve Been Watching Anime All the Time, When We Sit in Front of TV!), Tokyo: NTT Shuppan, 2010, a collection of personal reflections and notes on television anime in the years from 2000 to 2010, and アニメと戦争 / Anime to sensō (Anime and War), Tokyo: Nippon Hyoron sha, 2021.


Oct
2023

Help Wanted – Anime Professor!

categories: Announcements, Commentary

Who are the participants in “Japanese popular culture studies”? Not in the abstract sense, but more concretely – if Japanese popular culture studies is an academic area or field or discipline, do those who are involved in it identify themselves as “professors of Japanese popular culture studies”? For that matter, is such a thing as a “department of Japanese popular culture studies” or a “professor of Japanese popular culture studies” even possible or feasible?

In fact, if we actually do take a closer look at what academic departments scholars who write on anime, manga, and other related topics are actually based in, the patterns that emerge are essentially predictable Thus, when we look at the departments that the authors of the articles in the first seven issues of Mechademia: Second Arc are affiliated with, some of the ones we see include Asian and Middle Eastern Studies, Education, Film Studies, Foreign Languages and Literatures, Law, and Musicology. Similarly, the department affiliations of the authors of some of the major recent books on anime/manga include Comparative Literature, East Asian Languages and Cultures, Film and Media Studies, and Film and Television.

What can a professor who is interested in anime/manga as a research subject do to advertise this? One way is to simply mention a book project they are working on, as Prof. Jinying Li (Modern Culture and Media, Brown University) does.

She recently completed her first book, Anime’s Knowledge Cultures
(University of Minnesota Press, forthcoming)

And even if a professor is not actively working on a book, they can mention anime/manga among the subjects, topics, and themes that they are actively pursuing!

His research interests include biblical allusions in literature, missiology, Korean popular culture (e.g. K-pop and K-dramas), and Japanese anime/manga”.

But, a professor announcing what their interests is one thing. A university actively looking to hire a professor who specializes in a particular area is something very different. And, in what I believe is the first time for something like this, a major university has specifically announced that it is seeking to fill the position of Assistant Professor in Japanese contemporary literature and culture – “with interdisciplinary research and teaching interests in manga and animé”. The person who is hired for this position will be expected to teach both undergraduate and graduate courses, including at least one with a specific emphasis on anime/manga, as well as contribute to the development of the collection of original and translated manga in Ohio State’s Billy Ireland Cartoon Library & Museum.

Requirements for the position include a PhD in “Japanese literature or a related field” – completed by August 2024 – and a good demonstration of what a position can require instead of a “PhD in anime” is the call for a specialization in an area such as “visual narrative media such as manga and animé” or “history of popular media”. The hiring committee will begin screening applications for the position next week (November 1), but screening will continue without any kind of hard deadline, presumably until the position has been filled.

So, what does something like this mean? First of all, it means that next year, there will be at least one new professor at a major U.S. university who is almost definitely interested in both teaching about and researching Japanese animation and comics. This also shows that we are seeing the beginnings of an active process to bring professors. And with this, “studying anime and manga” – an activity and just what you do takes another step in the direction of “anime and manga studies” – a defined area with its own structures, goals, boundaries, aims, and rules.


Jul
2023

CFP: Studio Ghibli Films as Adaptations

categories: Announcements, Call for Papers

Just this week, the latest Studio Ghibli anime feature film – and, now, most likely the final anime to be directed by Hayao Miyazaki, opened in Japan, to both fascination and acclaim. And over the the years, Ghibli’s body of work has also attracted significant scholarly interest, with over 20 English-language monographs and essay collections, several themed issues in various peer-reviewed journals, and literally dozens of individual articles and chapters. Scholars have explored many different aspects of the Ghibli universe – among them depictions of particular themes and subjects, such as in The kraft of labour, labour as craft: Hayao Miyazaki’s images of work, and Anorexic in Miyazaki’s land of cockaigne: Excess and abnegation in Spirited Away, audience responses and reactions (Bridge builders, world makers: Transcultural Studio Ghibli fan crafting), and the ways Ghibli films have been translated and adapted outside Japan (The localization of Kiki’s Delivery Service).

One angle that not many scholars have explored yet is the nature of Ghibli works as adaptations. Some of the most well-known Ghibli films are based on works of fiction (Kiki’s Delivery Service, The Wind Rises, The Borrower Arrietty, When Marnie Was There) and others, on comics (Only Yesterday, Whisper of the Heart, My Neighbors the Yamadas, From Up on Poppy Hill). Howl’s Moving Castle was an arguably successful attempt to adapt a British fantasy novel; Tales from Earthsea, an infamously unsuccessful one to create an anime feature film based on an American one. Even Porco Rosso included one scene likely inspired by a Roald Dahl short story. And the new The Boy and the Heron is, according to Miyazaki, “very loosely inspired” by a 1937 children’s book. And it is this aspect of Studio Ghibli’s work that is the subject of a new Call for Papers


Call for Papers: Edited Volume on Studio Ghibli Films as Adaptations

This edited volume seeks to collect scholarship on how Studio Ghibli has adapted stories from other media to film. Many of the Japanese animation powerhouse’s films have their origins in novels or comics, such as Diana Wynne Jones Howl’s Moving Castle. Studio Ghibli cofounder and director Hayao Miyazaki even adapted his own manga, Nausicaä of the Valley of the Wind, into a feature film. We seek proposals – from a variety of disciplines and perspectives = for essays exploring how Studio Ghibli’s storytellers have approached adaptation, as well as what the study of Studio Ghibli’s filmography can contribute to the broader field of adaptation studies.

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Jul
2023

Book Review – Manga Cultures and the Female Gaze

categories: Book Reviews, Commentary

English-language writing on Japanese comics is not by any means a new thing or even a recent thing. Fred Schodt’s Manga! Manga! The World of Japanese Comics is 40 years old this year, and a couple of journal articles and book chapters are even older. But if we look at the way book length studies of Japanese comics written in English have developed over these last 40 years, one thing that’s easy to notice right away is that these studies can be grouped together around several common themes and approaches. Three recent titles simply bring together “explorations” and “perspectives” (Japanese Visual Culture: Explorations in the World of Manga and Anime, Manga: An Anthology of Global and Cultural Perspectives, Manga Vision: Cultural and Communicative Perspectives). Two analyze boys love manga / boys’ love manga. And four others have as their subject “ladies comics”, women’s comics, shojo manga, and “shojo and shojo manga”.

Examples of a different kind of focus can be found in Manga and the Representation of Japanese History, Rewriting History in Manga: Stories for the Nation, and The Representation of Japanese Politics in Manga: The Visual Literacy of Statecraft. One particularly interesting thing, though, these are all studies of particular kinds or genres of manga – compared to the more comprehensive ways that scholars have been approaching Japanese animation the way Susan Napier does in Anime from Akira to Howl’s Moving Castle: Experiencing Contemporary Japanese Animation. Rayna Denison’s  Anime: A Critical Introduction, and Christopher Bolton’s Interpreting Anime are similar examples.

One title that is a definite exception to this is Manga: A Critical Guide, just published earlier this year. And another, though it dates from a couple of years ago – and is more complex than an overview, is Manga Cultures and the Female Gaze. With it, Kathryn Hemmann (who currently teaches in the Department of East Asian Languages and Civilizations at the University of Pennsylvania and writes on a variety of topics at digitalfantasydiary.com) sets out to make the point that while when we think of visual popular culture in general, and Japanese visual culture in particular, we often assume a “default” male audience, it is crucial to consider the female creators and female audiences. “The female gaze” is how female manga artists depict female characters, but as it turns out, this gaze, and essentially, what it reveals simply by virtue of treating “women as subjects instead of objects” then can challenge some of the standards approaches to “trends in the consumption of (Japanese) entertainment media” that (male) theorists such as Eiji Otsuka, Hiroki Azuma, and Saito Tamaki have presented.

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May
2023

Manga in the 2023 Eisner Award Nominations – and 2012-2023

categories: Awards, Commentary

On May 17, the organizers of Comic-Con International: San Diego announced the nominees for this year’s Eisner Awards (for materials published in 2022) – officially the Will Eisner Comic Industry Awards. Although the Eisner Awards are generally known for honoring specific comics and the work of specific comics artists and writers, since 2012, one of the awards has recognized the year’s Best Educational/Academic Work. The category is now officially titled Best Scholarly/Academic Work, and this year once again, although none of the five titles that have received nominations in it specifically discuss Japanese comics, one is an essay collection with several chapters that do.

The LGBTQ+ Comics Studies Reader: Critical Openings, Future Directions (University Press of Mississippi) includes among its contents 3 very different essays on different aspects of manga, brought together under the section heading “Global Crossings and Intersections”:

First, Prof. Keiko Miyajima (John Jay College of Criminal Justice, City University of New York), contributes the chapter XX, XY, and XXY: Genderqueer bodies in Hagio Moto’s science fiction manga, a reading of several classic manga titles including Marginal, Star Red, and They Were 11, that emphasizes depictions of trans* identities “as a site of resistance to any coercive gender norms”.

Following this, William S. Armour is the author of An exploration of the birth of the slave through ero-pedagogy in Tagame Gengoroh’s PRIDE. In this follow-up to the 2010 paper Representations of the masculine in Tagame Gengoroh’s ero SM manga (Asian Studies Review, 34:4), Armour introduces non-Japanese audiences to what he refers to as a “Bildungsroman ero-MANGA”, discusses particular aspects of it that may ” resonate with Tagame’s intended audience”, and makes the point that in addition, PRIDE can be viewed as essentially a “how-to manual” or instructional work.

Finally, with Gay fanzines as contact zones: Dokkun’s adventures with “bara” manga in between Japan and France, Edmond Ernest dit Alban (Tulane University) argues that amateur pornographic comics such as those published in the French-language fanzine Dokkun enable and support “contact zones” for local, regional, and global cultures and communities.

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Apr
2023

Book Review – Manga: A Critical Guide

categories: Book Reviews, Commentary

[Ed. note: Book publishers rarely make an effort to promote new books on topics like manga. Guess leaves it up to people like me, who are interested in these kinds of books, to promote!]

Shige (CJ) Suzuki and Ronald Stewart
Bloomsbury Academic, 2022, 280 pages.
[Amazon] — [Bloomsbury USA]

This is a pre-peer review preprint of an article that has been accepted for publication in East Asian Journal of Popular Culture, 9:2, 2023.

When it comes to books that can explain manga to a non-Japanese reader, Fred Schodt’s Manga Manga: The World of Japanese Comics and Dreamland Japan: Writings on Modern Manga are the ones that come to mind right away. But important as these two titles are, they are now more useful as historical artifacts – Manga Manga was first published in 1983, and Dreamland Japan last received an update in 2011. Japanese comics have changed a good deal even in the last decade, and how we understand Japanese comics has also changed quite a lot. And while several authors have recently written (or contributed to) in-depth studies such as Boys Love Manga and Beyond: History, Culture, and Community in Japan, Manga and the Representation of Japanese History, and Manga Cultures and the Female Gaze, what we haven’t had is a general survey that would try to explain, or at least summarize “Japanese comics” in a neat and comprehensive package. And this is precisely the task that Manga: A Critical Guide sets out to accomplish – the book’s goal is to serve as both an introduction to the art form of manga, and to its impact and influence around the world, and as a summary of how critics and scholars approach manga and the questions they ask. Accordingly, its focus is on “manga” (exactly what is meant by the term is itself one of the points the book addresses) as a whole, rather than not on particular titles or creators, and while this book is not aimed purely at a scholarly audience, it’s also not designed for fast and casual reading like something like the now out-of-print The Rough Guide to Manga, or the just-released (and translated from French) A History of Modern Manga.

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Mar
2023

“But I don’t know Japanese” – “Global English” and anime and manga studies

categories: Commentary

The theme for the upcoming Spring 2025 issue of Mechademia: Second Arc will be “methodologies” – such as “theoretical frameworks” and “methods of analysis”. The Call for Papers for the issue lists several potential topics to consider and questions to ask in connection with this broad theme, and one of these questions is “What hampers the interrelation between English-language and Japanese-language scholarship (including publications by non-Japanese nationals in Japanese, and translations of popular or non-academic Japanese media criticism in English)?”

Asking this leads into another, related question. Is it essential or necessary for scholars working in a field like anime and manga studies, where the objects that the field is about are originally in a different language, to use scholarly materials in that language? And, if someone is not proficient in Japanese to the level where they can access untranslated Japanese books and essays, what kinds of options are available to them if they still want want to make a meaningful contribution to the study of Japanese animation, Japanese comics, and other related topics?

What hampers the interrelation between English-language and Japanese-language scholarship (including publications by non-Japanese nationals in Japanese, and translations of popular or non-academic Japanese media criticism in English)?

As it turns out, this specific question is actually related to a broader question of the role that the English language plays in global scholarly communication more generally. For example, in an innovative 2004 study on “global English in the humanities”, Charlene Kellsey and Jennifer E. Knievel demonstrated that for the fields of history, classics, linguistics, and philosophy, the average number of citations to non-English sources in issues of major journals has increased slightly between 1962 and 2002, while the average number of total cited sources has increased significantly, from 66.8 to 236. The vast majority of citations are to materials either originally published in English, or to translations into English. A similar study with a focus on the scholarly literature for the field of linguistics found that for a random sample of 479 sources used as citations in materials in the Language and Linguistics Behavior Abstracts database, an overwhelming majority – 93.5% – were in English. Additional recent studies on the topic include Can scholarly communication be multilingual? A glance at language use in US classical archaeology, Cross-lingual citations in English papers: a large-scale analysis of prevalence, usage, and impact, and, just recently – and with direct relevance to Japanese popular culture studies – Citing East Asia: A citation study on the use of East Asian materials in East Asian Studies dissertations. For that matter, in my own study of sources cited in the first 10 volumes of Mechademia, I found that out of 2,187 sources that authors cited, 68.22% were originally published in English, and another 7.27% were translated into English from other languages. Materials in Japanese made up 22.54%, and the small remainder was divided between a few items in French, German, Korean, Chinese, Italian, and Spanish.

On average, each dissertation had 44 percent of its citations to East Asian materials. However, the individual dissertations varied greatly in terms of percentage of East Asian citations

– Xiang Li, Citing East Asia

These studies then demonstrate both that scholars in different fields in the humanities that may involve using sources in languages other than English both do and do not actually use non-English sources, and the extent that they do varies widely between fields. So, conceptually, scholarship in the humanities that focuses on literature and media that is originally produced in a language other than English, and does not necessarily refer to sources in that language is possible and accepted. But, the question remains – how do you “do” anime and manga studies without being able to directly access materials written in Japanese?

And, to answer the question, I would point at least four possible approaches. Each of them comes with their own caveats and limitations, but, taken together, these approaches definitely offer some ways to resolve the basic challenge.

1. Consider translations of Japanese scholarly work

The most straight-forward approach simply involves asking the question to what extent is Japanese writing on anime/manga available in English translation? The answer to this question is – somewhat. English translations are available for two foundational Japanese texts in anime studies – Otaku: Japan’s Database Animals and Beautiful Fighting Girl, but in the first case, the original book was published in 2001, and the translation is from 2009; in the second, the book is from 2000, and updated in 2006, and the translation is dated 2011. So, neither can represent the “current” state of anime studies, either in Japanese or in English. And this is essentially also the case with the volume that was published in 2021 with the title Erotic Comics in Japan: An Introduction to Eromanga – the original Japanese edition is dated 2014, and the direct translation of the original title is Eromanga Studies, Expanded Edition: An Introduction to Manga as a “Pleasure Apparatus”.

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Feb
2023

Call for Papers – Mechademia: Second Arc, 17.1 “Cosplay, Street Fashion, and Subcultural Styles”

categories: Announcements, Call for Papers

One concept that, for many people, is probably the most closely associated with anime/manga is cosplay. In turn, studies of cosplay are a major area in anime and manga studies in general – just some prominent examples include Melissa de Zwart, Cosplay, creativity and immaterial labours of love, Joel Gn, Queer simulation: The practice, performance and pleasure of cosplay, and Alexi Hieu Truong, Framing cosplay: How ‘layers’ negotiate body and subjective experience through play. And in 2006, when Mechademia: An Annual Forum for Anime, Manga, and Fan Arts launched with its “Emerging Worlds of Anime and Manga” issue, one of the articles in it was Costuming the imagination: The origins of anime and manga cosplay.

Despite their increasing visibility the importance of costume, fashion and style is often overlooked; they escape focused scholarly attention because, paradoxically, they are so patent and obvious, we may think anyone can talk about them.

Seventeen years have passed since then. And now, Mechademia has announced the Call for Papers for a full issue on “Cosplay, Street Fashion, and Subcultures”, guest-edited by Dr. Masafumi Monden (Lecturer, Japanese Studies, University of Sydney, author of, among other publications, Japanese Fashion Cultures: Dress and Gender in Contemporary Japan), and currently set for publication in the fall of 2024. The CFP suggests several broad questions or ideas to consider when thinking about cosplay and its relationships to fashion, street fashion, culture, and subculture. One of these questions is the nature of the difference between the ideas of “fashion” and “style”. Another is place that the body holds when approaching concepts related to fashion.

Within the broad issue scope, authors are invited to consider a wide range of topics and themes. Some of these can include:

  • Marketing and consumer culture
  • Sexuality and/or gender
  • Fandom and subsequent communities
  • Activism, resistance and protests
  • Beauty and aesthetics

The expected word length for submissions is between 5000 and 7000 words, and the submission deadline for the issue is July 1, 2023.

The full CFP, with additional details, is available on the Mechademia website.


Jan
2023

Highlighting New Publications – JAMS v. 3

categories: Announcements, New Publications

I think it’s safe to say we are comfortably past the point where the appearance of a new scholarly article on a topic related to anime/manga is something remarkable or extraordinary. As other scholars have already noted – and as I have worked to demonstrate – “anime and manga studies” (or the broader area of “Japanese popular culture studies” is now very much “a field in formation”, establishing itself and developing, and evolving.

But, even if a new publication on anime/manga is not particularly remarkable or even groundbreaking, it may still be worth examining. And this is especially true when we are looking not just at a single article, but several that appear at once – as is the case with the new third volume of the Journal of Anime and Manga Studies, the only “open-access journal dedicated to providing an ethical, peer-reviewed space for academics, students, and independent researchers examining the field of anime, manga, cosplay, and fandom studies”. JAMS launched in 2020, and with this latest volume, with nine stand-alone articles, one event report, and two book reviews, continues to make a very significant contribution to anime and manga studies as an academic field.

In November of 2020, JAMS got 322 file views. In November of 2021, this increased to 755 files views. And in November of 2022, this increased again to 1286 file views.

The issue opens with a report from the journal’s editor, including a look at readership statistics and month-to-month trends. At launch in November 2020, JAMS received 322 file views. This number stayed stable at approximately 200 views through much of 2021, but began trending up significantly from September 2021 on. with peaks in January, March, and October of the following year. The final figure the editor was able to provide, for November 2022, was 1286 file views. The major explanations for the growth trends that the editor presented are JAMS’ inclusion in the Directory of Open Access Journals, starting in February 2022, and the related Anime News Network news item. One question the report does not consider is whether the articles that JAMS is publishing are achieving any “impact” in the sense of receiving citations in other publications, or at least mentions in online discussions. Granted, even expecting impact from a relatively recent journal in a specialized subject area may be a lot to ask for – but from what I can tell, at least a couple of the articles that were published in JAMS have already been referenced elsewhere, such as The indigenous shôjo: Transmedia representations of Ainu femininity in Japan’s Samurai Spirits, 1993–2019, cited in Edutaining with indigeneity: Mediatizing Ainu bilingualism in the Japanese anime, Golden Kamuy, and Embedded niche overlap: A media industry history of yaoi anime’s American distribution from 1996 to 2009 included in the online resource What are Fujoshi, Fudanshi & BL? – plus mentions of others, and of the journal as a whole, in blog posts and on social media!

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