1,720,968 research outputs found
Brienza, Casey. Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics
Get PDFBrienza, Casey. Manga in America: Transnational Book Publishing and the Domestication of Japanese Comics London, New York: Bloomsbury Publishing Plc. 2016. ISBN: 978-1-4725-9587-4 Katherine Marazi The case of cultural production appears to be one focused only on products. As I write this review the 2017 San Diego Comic-Con has ended and yet as an event it reminds fans and audiences alike that it is not just about the comic books, the films, the TV series or the manga and anime. It is also abo..
Book review: internet literature in China by Michel Hockx
No full textThis book examines the budding Chinese literary communities and their practices on the Internet. In Internet Literature in China, author Michael Hockx’s theoretical use of postsocialism as an organizing concept in the exploration of China’s online literary communities is what makes this such a fantastic contribution, writes Casey Brienza
Book review: Anime's media mix: franchising toys andcharacters in Japan
No full textIn Anime’s Media Mix, author Marc Steinberg shows that anime is far more than a style of Japanese animation. Engaging with film, animation, and media studies, as well as analysis of consumer culture and theories of capitalism, Steinberg offers the first sustained study of the Japanese mode of convergence that informs global media practices to this day. Casey Brienza finds this is a very flawed book but nevertheless, a very good one
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Constructing the mangaverse: Narrative patterns in Marvel's appropriation of manga products
No full textABSTRACT / PROPOSAL: It´s well known that the major global comic producers are Japan and U.S. There are not so many countries where this medium has achieved this importance not only as high-quality producers but also as powerful creators of contents. In fact, there is also a long history of mutual influence between media and their narratives within these countries. Sequential Language -that in Japan mainly corresponds to manga medium-, has been influenced by other western serial media, especially TV and comic. This may be particularly the case of manga beginnings as well as other related media such as kamishibai (Nash, 2009) and e-monogatari (Holmberg, 2011). In its constant search of new themes, Japanese manga industries have invaded some fields that were exclusive of American market many years ago. On the second half of the last century, the popularity of comic-book characters motivated the adaptation of their stories to manga medium (Jiro Kuwata´s Batman, Ryoichi Ikegami´s Spiderman...). The creation of these products is the next logical step following the transnationalization of capital between Japanese and American industries. We refer to the transnationalization of narrative elements, which are gradually forming a shared international scale image, very similar to that defined as ‘Global Cultural’ (During, 1997). One of the most popular approaches to this subject has been the creation of Mangaverse. These series are an alternate to the traditional Marvel fictional universe that re-imagine the traditional Marvel characters as manga archetypes while employing manganime aesthetic codes, also known as ‘Japan Visual Language’ (Cohn, 2010, 2011). For some scholars, Mangaverse is just a mere fusion of cultural elements, a new manifestation of the ‘Convergence Culture’ (Jenkins, 2006) but the Mangaverse has been openly criticized by both critics and fan audiences indicating that there may have been a decoding problem, that is, narrative elements are not easily recognized nor adopted so they are considered as ‘fake manga’. This criticism has been focused primarily on the way that Marvel´s imprint has evoked stereotypes of Japanese popular culture to create his ‘Marvel-Manga’. Other manifestations of this ‘Culture of Convergence’ -or this ‘Thematic Transnationalization’- are the anime adaptations of charismatic characters from the Marvel Brand made by Madhouse studio (Wolverine, X-Men, Iron Man and Blade) between 2010 and 2012. These products are not quite different from other Japanese-American co-productions in the past, which has been very often in the industry since its inception (Speed Racer/Mach GoGoGo, 1968; Kimba the White Lion/Jungle Taitei, 1965) and that has been developed in Japan for the distribution in both Japan and American markets. The difference this time is that the narrative of these products is not inspired by traditional manganime nor American cartoon but by the quintessential American genre which is the ‘super-hero’ genre. In this chapter, we introduce a brief history of the relationship between Marvel and enterprises that form the Production Committees in Japan, especially publishers. These collaborations have been carried out by adopting two different strategies. On the one hand, we have the adaptation by transposition from Marvel narrative formulas to Japanese standards such as shōnen and shōjo. This is the case of the anime adaptations. On the other hand, the creation of Mangaverse could be considered as a misunderstanding of the prescriptive form of Japanese manga genres. Thus, the reading of Mangaverse can´t be performed as the mere transnational adaptation from superhero genre to shōnen, but as the transposition of a Japan Global image. This reflection may be easily confused with the stereotypes of Japan and its culture that arise from the global popular culture (video games, movies, TV series, etc..
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Making Comics as Artisans: Comic Book Production in Colombia
No full textThere is a common saying that goes, “Colombia is well known for all products that start with the letter C.” Sadly, comics are not among the products that come to mind directly after that statement. This chapter presents Colombia’s (non-existent) comics industry, and the works of those who, on the fringes of the economy, have strived to continue with their trade. We want to start by stressing the perspective from which we draw this incomplete picture of the Colombian comic world: we have been at both the academic and creative ends of comics. We grew up in a country filled with comics in the shape of small magazines, mainly American in origin and mostly translated into Spanish. We grew up reading Donald Duck and Mickey Mouse, some Marvel and DC Superhero comics, the occasional Tintin and Astérix, but very few Latin American comics, with Condorito and Kalimán taking the lead
Cultures of Comics Work
No full textBrienza, Casey, and Paddy Johnston (eds.), Cultures of Comics Work, Palgrave, 2016, 308 pages, ISBN 978-1-137-55090-3 Recension de Bounthavy Suvilay Même si dans la presse grand public, l’auteur reste l’équivalent d’un démiurge solitaire pour les besoins des récits médiatiques et des stratégies de promotion commerciale, la sociologie et l’histoire littéraire ont depuis assez longtemps tordu le cou à cette idée reçue. Howard Becker (1988) rappelait dans Les Mondes de l’art que la croyance en ..
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