As anime and manga studies continues to establish itself, developing from simply an area of interest to an established academic field, one of the questions that has to be asked time and time again is not just what is the definition of anime and manga studies, but what are its actual features and characteristics. “Where” does anime and manga studies actually take place – or where do the results of “anime and manga studies” appear. And, similarly, who are the actual participants in this field? Having answers to these questions can help establish a profile for anime and manga studies, and can also allow for comparisons between it and other areas of interest, fields of study, etc.
Seven years ago now, I already tried answering one of these kinds of foundational questions with a basic analysis of “who are the anime/manga scholars“. At that point, I examined the institutional affiliations of the authors who contributed chapters to four different essay collections on anime/manga, and determined that of a total of 59 authors, 35 (59%) were college/university faculty, 8 (14%) – graduate students, 5 (8%) – other academic employees (researchers, etc.), and 11 (19%) – independent scholars or not affiliated with an academic institution (including artists, librarians, museum employees, and industry professionals).
Of course,, anime and manga studies, and Japanese popular culture studies in general has evolved significantly since I published my initial 2015 study. For example, the Society for Animation Studies now includes an Anime Studies special interest group. Mechademia, the first regular English-language scholarly journal on anime/manga and related topics, which first began publication in 2006 but went on hiatus after ten annual volumes, has been relaunched as Mechademia: Second Arc, with an expanded focus on “the study of East Asian popular cultures, broadly conceived”, and a more frequent publication schedule. It has recently been joined by the open-access Journal of Anime and Manga Studies. More and more colleges/universities around the U.S. are offering classes on anime and manga, every year, new graduate students are focusing on anime/manga in their dissertations, and major new textbooks, such as A Companion to Japanese Cinema and Introducing Japanese Popular Culture emphasize the place of anime and manga in Japanese culture.
So, with all of this in mind, I think that 2015 “who are the anime/manga scholars?” is due for an update, with some modifications. In particular, just as Mechademia has expanded its scope, it’s appropriate to go beyond just an analysis of authors of chapters in edited essay collections on anime/manga. In fact, the “new” Mechademia, which has now published 7 issues, each with its own subtitle and general theme (such as “Childhood”, “Soundscapes”, and “New Formulations of the Otaku”) is a perfect source to drawn on to identify some of the current characteristics of authors in anime/manga studies, Japanese popular culture studies, and, really, East Asian popular culture studies in general.