The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story by Ian Condry (review)

animação japonesa e a sua marca de distinção no Ocidente

“…Além disso, autores como Antônio López (2013) vão destacar que o anime é algo mais do que um peculiar estilo de animação, é principalmente um poderoso fenômeno social que tem se expandido rapidamente por todo o mundo. Ian Condry (2013) reforça esse pensamento ao considerar que a animação japonesa deve ser compreendida em um nível maior de refinamento de detalhes do que apenas como um gênero específico ou simplesmente como um reflexo do Japão. Em vez disso, ele sugere que a animação japonesa precisa ser estudada de forma mais ampla, como uma forma cultural comunicacional que emerge das práticas sociais e da competição.…”

“…Assim, os países do Ocidente normalizaram a percepção sobre os países do Oriente por meio de uma lente, configurada a partir de um histórico de preconcepções estereotipadas, rotulando-os como místicos, exóticos, entre outros marcadores reducionistas. No caso dos estudos acerca do Japão por ocidentais, John Whittier Treat comenta que se convencionou uma abordagem chamada de historicidade estagnada, no qual estudiosos europeus e americanos tendem a construir a imagem do Japão como sendo uma contraparte cultural ou rival (CONDRY, 2013), mantendo a perspectiva enraizada no legado do orientalismo.…”

Transnational Flows of Anime and Manga in the West

“…According to Sean Leonard, popular reception of the media outside of Japan was the result of an "international pull, not push" (Leonard 2005: 282), which is why the dissemination of this popular culture should not be considered only as a matter of Japanese export, but also as a demand for import created by their consumers, that is, its fans (Levi 2006: 46). In this regard, anthropologist Ian Condry considers the global movement of anime an example of "globalization from below" (Condry 2013), a force also termed by Appadurai as "grassroots globalization", where "a series of social forms has emerged to contest, interrogate, and reverse these developments [the state of exclusion from national and global debates on globalization] and to create forms of knowledge transfer and social mobilization that proceed independently of the actions of corporate capital and the nation-state system (and its international affiliates and guarantors)" 1 (Appadurai 2000: 2-3). Although anime and manga would later on become widely commercially available, Leonard points to the crucial role of fans' enthusiasms and efforts during the period from the late 1970s to early 1990s in the formation of an international anime fan distribution network, one that later im-pelled the establishment of the North American market.…”

Suvremeni pristupi u izučavanju japanskog jezika i kulture : Zbornik radova povodom obilježavanja 20 godina Katedre za japanologiju Odsjeka za indologiju i dalekoistočne studije Filozofskog fakulteta Sveučilišta u Zagrebu

“…According to Sean Leonard, popular reception of the media outside of Japan was the result of an "international pull, not push" (Leonard 2005: 282), which is why the dissemination of this popular culture should not be considered only as a matter of Japanese export, but also as a demand for import created by their consumers, that is, its fans (Levi 2006: 46). In this regard, anthropologist Ian Condry considers the global movement of anime an example of "globalization from below" (Condry 2013), a force also termed by Appadurai as "grassroots globalization", where "a series of social forms has emerged to contest, interrogate, and reverse these developments [the state of exclusion from national and global debates on globalization] and to create forms of knowledge transfer and social mobilization that proceed independently of the actions of corporate capital and the nation-state system (and its international affiliates and guarantors)" 1 (Appadurai 2000: 2-3). Although anime and manga would later on become widely commercially available, Leonard points to the crucial role of fans' enthusiasms and efforts during the period from the late 1970s to early 1990s in the formation of an international anime fan distribution network, one that later im-1 As an example of such globalizing forces, Appadurai provides the example of NGOs, as a system of institutions that operates in parallel with global capital and nation-states dealing with the mobilization of certain groups of people around specific issues (ibid.…”