Suchergebnisse

En apenas tres décadas, las voces manga y anime han pasado a formar parte de nuestro lenguaje habitual, sin necesidad de aclaraciones previas. De manera paralela, en los últimos años se ha acentuado en todo el mundo un fenómeno —que si bien no es nuevo— ha resultado en la explosión turística de localizaciones ligadas a series de ficción y producciones de éxito de cine y televisión. El manga y —especialmente— el anime non son en absoluto ajenos a este fenómeno.El desarrollo de un universo (world-setting) minucioso es algo intrínseco a la naturaleza de manga y anime. El gusto por los detalles y la meticulosidad de los universos descritos posibilitan la inmersión del lector y la comunión de este con los personajes de la historia (Kelts, 2006). Más aún, la existencia de Japón como país real, más allá de los relatos del manga y el anime, aporta un nuevo nivel de profundidad a las historias de ambos medios.En los últimos años el Gobierno Japonés así como instituciones regionales y locales han empezado a explotar el potencial turístico de manga y anime por igual, todo ello bajo el paraguas de Cool Japan, la estrategia de branding nacional del gobierno acuñada durante la primera década del siglo XXI. ; In the last decades, the words manga and anime have become part of our everyday language, no longer requiring further clarifications. Meanwhile, in recent years, a worldwide phenomenon has intensified: film locations from famous fiction TV dramas and blockbusters have become touristic hotspots. Manga and anime are not oblivious to this boom.The depiction of rich and detailed world-settings is one of the foundations of manga and anime, coded within their DNA. A well-built world-setting enables the connection between the reader/spectator and the story being told (Kelts, 2006). On top of that, the fact that Japan is indeed a real place beyond manga and anime's fictional locations provides a new level of meaning to the stories in both media.Over the last years, the Japanese government, as well as regional and local councils, have begun to benefit from the touristic potential of manga and anime under the umbrella of "Cool Japan", the national branding campaign addressed by the government in the early 21st century. This paper will address how this phenomenon develops within the Cool Japan campaign.

Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion aims at advancing the study of anime, understood as largely TV-based genre fiction rendered in cel, or cel-look, animation with a strong affinity to participatory cultures and media convergence. Taking Neon Genesis Evangelion (Shin Seiki Evangerion) as a case study, this volume acknowledges anime as a media form with clearly recognizable aesthetic properties, (sub)cultural affordances and situated discourses.;First broadcast in Japan in 1995-96, Neon Genesis Evangelion became an epoch-making anime, and later franchise. The initial series used already available conventions, visual resources and narrative tropes typical of anime in general and the mecha (or giant-robot) genre in particular, but at the same time it subverted and reinterpreted them in a highly innovative and as such standard-setting way.;Investigating anime through Neon Genesis Evangelion this volume takes a broadly understood media-aesthetic and media-cultural perspective, which pertains to medium in the narrow sense of technology, techniques, materials, and semiotics, but also mediality and mediations related to practices and institutions of production, circulation, and consumption. In no way intended to be exhaustive, this volume attests to the emergence of anime studies as a field in its own right, including but not prioritizing expertise in film studies and Japanese studies, and with due regard to the most widely shared critical publications in Japanese and English language. Thus, the volume provides an introduction to studies of anime, a field that necessarily interrelates media-specific and transmedial aspects.;In Anime Studies: Media-Specific Approaches to Neon Genesis Evangelion, anime is addressed from a transnational and transdisciplinary stance. The disciplinary and methodological perspectives taken by the individual chapters range from audio-visual culture, narratology, performance and genre theory to fandom studies and gender studies. In its first part, the book focuses on textual analysis and media form in the narrow sense with regard to filmic media, bank footage, voice acting and musical score, and then it broadens the scope to consider subcultural discourse, franchising, manga and video game adaptations, as well as critical and affective user engagement.