By Sandra Annett (auth.)
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Extra info for Anime Fan Communities: Transcultural Flows and Frictions
The theme of movement features strongly not only in its distribution as a product and its properties as a medium, but also reflexively in its content, as the subject matter of many of the earliest silent films. In the introduction to his Before Mickey: The Animated Film 1898–1928, Donald Crafton notes that “the first [stop-motion] animated films were concerned with making objects appear to move with a mysterious life of their own” (1993, 7), highlighting the creation of motion. ” (103, 105), demonstrating in content the new medium’s capabilities as machine.
INTRODUCTION 17 Japanese society. The need to go beyond such tropes is pointed out by Tagawa Takahiro in his 2009 article “Direction of Otaku Studies,” which pays attention to the question of who defines otaku and how they do it. ” The project of studying fujoshi is in fact already well under way among female scholars such as Kotani Mari and Antonia Levi, and it is one I take up in Chapter 6, where a fuller definition of fujoshi may be found. ” (2009, 79), as male or as female fans, personally and socially, at home and in the world.
Are not simply instances of ‘Americanization’ so much as a complex set of discursive enunciations and influences that cannot be reduced to an East/West narrative” (21). These enunciations represented a “tug of war—between domestic and foreign interests, imperial or neocolonial power and the nation-state, producers and spectators, different classes of society and so on—over who has the ability to declare what is (Japanese) cinema and what is not” (23). In short, the Pure Film Movement acted as a site of rearticulation and 36 ANIME FAN COMMUNITIES contestation around ideas of modernity, cinema, and the nature of the nation and internationalism itself in Japan.