Introduction

Naylor, Alex; Helford, Elyce Rae

doi:10.3828/sfftv.2014.18

Cited by 2 publications

(2 citation statements)

References 3 publications

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“…Scholars have noted Walt Disney's influence upon Tezuka's comic and animated works (particularly upon the "big-eyed" aesthetic of character), who in turn, influenced a variety of Western cartoon animators in the 1990s, indicating the early "cross-pollination" of ideas within the globalized animation industry (Bakonyi, 2010;Consalvo, 2006;Kuwuhara, 1997;Napier, 2005;Naylor & Helford, 2014;Ruh, 2012;Wahab, Anuar, & Farhani, 2012;Wong, 2006). This cross-pollination of idea within media industries was also noted by Ito (2008) who suggests that during the 1920s and 1930s, Japanese artists borrowed ideas from American newspaper comics.…”

Section: History Of Animementioning

confidence: 99%

“…Condry (2013) reports that as much as sixty percent of animated television shows broadcasted in Japan are adapted from these manga. While in the United States, animation has traditionally been constrained to children's entertainment and superhero shows, Japanese animation is much more ingrained into the national mainstream culture (Naylor & Helford, 2014).…”

Section: Defining Animementioning

confidence: 99%

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A Pokébalancing Act: The Management Of Japanese Cultural “odor” In Pokémon

Raes¹

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Techno-orientalism" refers to the shift from the Western "fetishization" of traditionally Japanese art forms to the commodities that are commonly thought to "represent" Japan in the twenty-first century. These commodities include anime, video games, pachinko gambling parlors, and other technological, globalized products (Paulk, 2011). Sato (2004) refers to technoorientalism it as the tendency to imagine Japan through both the "traditional" stereotype and the "technologically oriented" stereotype (p. 355). In any case, advances in technology have contributed to orientalism through the ideological shift of non-Japanese audiences becoming familiarized with the cultural properties that "represent" Japan or Japanese-ness. As an Asian product rooted in Japan but distributed throughout the world, Pokémon has been promoted as such to these global audiences. Whether the appeal of the series rests within the Japanese qualities of its origins or the sanitized version that was distributed to other countries remains in question. I suggest that, although anime such as Pokémon have been edited to remove certain Japanese qualities, an inherent "Japanese-ness" remains that appeals to Western audiences' sense of novelty-seeking through the presentation of exotic difference, thereby essentializing the Japanese culture to that of "anime." This implies that part of Pokémon's popularity is caused by the appeal of the exotic "Other" that is suggested by the anime's Japanese origin. Anime Japanese animation, as well as the comic industry (manga) have long held a long place at the forefront of Japanese media culture. Scholars have recognized these the ubiquity of these industries, stating that they are interrelated (Condry, 2013; Ito & Crutcher, 2014) and interdependent (Pusztai, 2015). Pusztai (2015) states that the creative production qualities of these industries allow them to borrow heavily from each other in that storylines, characters, and 16 aesthetic stylistics are often interchangeably "recycled" between productions (p. 141). The creative collaboration between the two industries indicates their relevancy and saliency within Japanese culture. Furthermore, since anime incorporates the cultural personae of manga, taking on and reflecting the stories and themes that resonate with Japanese people, animation should be regarded as cultural artifacts that represent the given culture in which they are produced (Hubka, 2002; Price, 2001; Wells, 2002). Much has been researched concerning the stories and themes surrounding the most popular anime production company in Japan, Studio Ghibli, as well as its creator, Miyazaki Hayao, which was credited with much of anime's international popularity (Boyd & Nishimura,

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