By Marc Steinberg

ISBN-10: 0816675503

ISBN-13: 9780816675500

Untangles the internet of commodity, capitalism, and paintings that's anime

In Anime's Media combine, Marc Steinberg convincingly indicates that anime is way greater than a mode of eastern animation. past its fast type of cartooning, anime is additionally a different mode of cultural construction and intake that resulted in the phenomenon that's this day known as "media mix" in Japan and "convergence" within the West.

According to Steinberg, either anime and the media combine have been ignited on January 1, 1963, while Astro Boy hit jap television monitors for the 1st time. backed by way of a chocolate producer with savvy advertising talents, Astro Boy speedy turned a cultural icon in Japan. He was once the poster boy (or, in his case, "sticker boy") either for Meiji Seika's goodies and for what may well ensue whilst a goggle-eyed comic strip baby fell into the keen clutches of inventive retailers. It used to be just a brief step, Steinberg makes transparent, from Astro Boy to Pokémon and beyond.

Steinberg lines the cultural family tree that spawned Astro Boy to the adjustments of eastern media tradition that followed—and ahead to the much more profound advancements in international capitalism supported by way of the circulate of characters like Doraemon, hi Kitty, and Suzumiya Haruhi. He information how convergence was once sparked by way of anime, with its astoundingly wide promotion of pictures and its franchising throughout media and commodities. He additionally explains, for the 1st time, how the increase of anime can't be understood properly—historically, economically, and culturally—without greedy the imperative position that the media combine performed from the beginning. enticing with movie, animation, and media reports, in addition to analyses of buyer tradition and theories of capitalism, Steinberg deals the 1st sustained examine of the japanese mode of convergence that informs worldwide media practices to at the present time.

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6. Lip-synching. “For scenes where the character speaks its lines, make the face a stop-image and, applying the fifth principle, only move sections [of the face]. Whereas normally, in talking scenes, there are many shapes for the mouth, we would only use three: closed, wide open, and half-way open, randomly repeating these using three-frame shooting. ” 7. Dual use. “The same movements were reused across a number of different cuts. 51 8. Short shot length. “Since when cuts are long in length the character must be moved around here and there, we used short shot lengths.

If the temporalities of manga and anime images are not exactly cinematic, their framings certainly are. Prewar manga tended toward a theatrical style of framing reminiscent of early cinema. 94 In contrast to the “externality” of the reader in the primitive mode of manga representation, the modern mode of manga representation brought the reader inside the frame, close to the action. Modern manga cut into the diegetic space with close-ups, multiple framing styles and angles, and a more coherent, dynamic, and three-dimensional sense of space.

I would respond that I think it is. Since animation is a kind of screen image [eizō], I don’t think it matters whether it’s moving or not moving; if you can manage to watch it, then it’s good enough. Of course, if it’s not moving it becomes something like storyboard theatre [kamishibai]. 47 This passage indicates Tezuka’s efforts to redefine animation, shifting it away from the emphasis on fluid motion that often informs definitions of the medium. According to his formulation quoted here, anime can be defined as a screen image that generates a kind of affective response in the spectator, tells a story, and has at least a minimal degree of movement.

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Anime's Media Mix: Franchising Toys and Characters in Japan by Marc Steinberg


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