Japanese Animation: East Asian PerspectivesEast Asian Perspectives

Editors: Masao Yokota and Tzu-yue G. Hu

Publisher: University Press of Mississippi (Jackson, MS)

ISBN: 978-1-61703-809-9


  • Hu, Tzu-yue G. Frameworks of teaching and researching Japanese animation (pp. 3-14)
  • Yokota, Masao. Some thoughts on the research essays and commentary (pp. 15-22)
  • Tsugata, Nobuyuki. A bipolar approach to understanding the history of Japanese animation (pp. 25-33)
  • Hu, Tzu-yue G. Reflections on the Wan Brothers’ letter to Japan: The making of Princess Iron Fan (pp. 34-48)
  • Koide, Masashi. On the establishment and the history of the Japan Society for Animation Studies (pp. 49-72)
  • Ikeda, Hiroshi. More on the history of the Japan Society for Animation Studies: Historic essentials of animation studies (pp. 73-84)
  • Sano, Akiko. Chiyogami, cartoon, silhouette: The transitions of Ofuji Noburo (pp. 87-97).
  • Watabane, Yasushi. The Japanese Walt Disney: Masaoka Kenzo (pp. 98-114).
  • Hu, Tzu-yue G. Animating for “whom” in the aftermath of a World War (pp. 115-131)
  • Yamanashi, Makiko. Tezuka and takarazuka. Intertwined roots of Japanese popular culture (pp. 135-154)
  • Kon, Dong-Yeon. Growing up with Astro Boy and Mazinger Z: Industrialization, “high-tech world”, and Japanese animation in the art and culture of South Korea (pp. 155-182).
  • Chow, Kenny K.N. From haiku and handscroll to Tezuka: Refocusing space and camera in the narrative of animation (pp. 183-195)
  • Sugawa-Shimada, Akiko. Grotesque cuteness of shojo: Representations of goth loli in contemporary Japanese TV anime (pp. 199-222).
  • Kim, Joon Yang. Animated interracial romantic fantasies: Japanese male and non-Japanese female characters (pp. 223-241).
  • Kifune, Tokumitsu, and Ishida, Sonoko. 3-D computer graphics: Creating and teaching professional animated techniques in Innocence and Doraemon (pp. 245-264).
  • Yokota, Masao. Animation and psychology: The midlife crisis of Kawamoto Kihachiro (pp. 265-284).
  • Ikeda, Hiroshi. The background of the making of The Flying Phantom Ship (pp. 287-295).

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