Manga, or Japanese comic books, are one of the newest popular media imports from Japan to garner a sizable following in the U.S. Shortly before the establishment of an American manga publishing industry and the investment in resources to publish manga legally, fans calling themselves scanslators (scan + translators) began translating Japanese manga themselves and distributing it to other fans through the Internet. This dissertation focuses on the manga importation process from several different angles, comparing within each the struggles and similarities between the actions and motives of scanslators and publishers. Comparing and contrasting the practices and norms of scanslators with those of the American manga publishing industry, this case study provides insight into the ways that fans of transnational texts are involved in a system of global media flows whose paths are determined by legal, cultural, economic, and political forces. This work focuses on three stages in the manga importation process: selection, translation, and distribution. This study is based on the textual analysis of trade journal articles and web sites, informed by interviews with scanslators and manga industry workers. I conducted interviews over a six-month period in 2008, focusing on two groups, the publishing company Tokyopop and the scanslation group "Paradise." I carried out follow-up interviews a year later. I supplemented these interviews with interviews from freelance manga translators. I demonstrate principles influencing the flow of other kinds of media across borders. Manga serves as a prime example of the rise and transformation of a sector of the book market, and more broadly as a form of media. This case also serves as a snapshot of a moment of change within the publishing Special thanks to my colleagues, including Hsin-Yen Yang, Doug Schules, Eve Bottando, and Meryl Irwin, for intellectual, physical, and moral support all these years. You guys rock! Thank you to Steve and Cheri Cummings for all the support and friendship, and for being great role models. Thanks to my friend Jason Jeffers, for all the delicious coffee and valuable support. You helped make these last couple of years possible, and I hope I can help you fulfill your dream projects in return. My family, especially Mom, Dad, and Lauren, have been here throughout the years with unending love and support. Finally, gigantic thanks to my husband, Ben, for all his patience, help when I needed it, and companionship throughout the years. I couldn't have finished without you, sweetie. I love you all! Thank you! iii TABLE OF CONTENTS CHAPTER 1 MANGA IN THE U.S.: SOME THEORETICAL AND CONCEPTUAL BACKGROUND .
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