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Additional info for Cinema Anime: Critical Engagements with Japanese Animation
1 Such negotiations are not smooth, nor should they be. Many of the hardcore fans known as “Japanophiles” resist such changes and attempt to keep the fandom as “Japanese” as possible. This is as it should be. Without such resistance, assimilation would occur too rapidly and differences would be effaced. The uniqueness of anime and manga could easily be overwhelmed by the two already strong fandoms with which they have merged: comic book fandom and science fiction and fantasy fandom. Both have long histories and traditions of their own in the United States.
Com/time/asia/magazine/article/0,13673,501031201–549074,00. htmlϾ. 5. For a discussion of Kon in relation to Fincher and Lynch, see the article “Satoshi Kon” by the French critic “Jay” in Otaku (May/June 2003): 20–21. 6. , Issues in Feminist Film Criticism (Bloomington: Indiana University Indiana Press, 1990), 61. 7. , 66. 8. Ibid. 42 SUSAN NAPIER 9. Sharalyn Orbaugh, “Busty Battlin’ Babes: The Evolution of the Shkjo in 1990’s Visual Culture,” in Joshua S. , Gender and Power in the Japanese Visual Field (Honolulu: University of Hawaii Press, 2003), 204.
Feminism and Film Theory (New York: Routledge, 1988), 206. 15. See Carol Clover, Men, Women, and Chainsaws (Princeton: Princeton University Press, 1992), passim. 16. Jay, “Satoshi Kon,” Otaku (May/June 2003): 22. 17. O. Scott, New York Times, September 12, 2003. 18. “Millennium Actress Q&A,” DVDVision Japan, August 8, 2003, Ͻwww. htmlϾ. My Italics. 19. Ibid. 20. Ibid. 21. Ibid. 3 The Americanization of Anime and Manga: Negotiating Popular Culture Antonia Levi hen I first began writing about the cultural and historical roots of anime and manga appearing in translation in the early 1990s, I cherished rosy dreams that as the popularity and availability of these Japanese cartoons spread, so too would the interest in Japan and its culture.