japanese animation
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Author(s):  
Feixue Mei ◽  

This article explores the reasons behind the success of user-generated content (UGC) advertisements on Bilibili, which is one of China’s most significant video-sharing social media sites, with a core focus on East Asian pop culture. Additionally, Madoka Magica is a well-known Japanese animation about magical girls. There are two derivative games based on it. By using diffusion of innovation theory and content analysis method, this article takes UGC advertisements of Madoka Magica’s mobile games as windows to investigate how early adopters (influencers) motivate early majority adopters (their followers) to play the game. Moreover, this paper also addresses three types of bullet chats in this kind of video to further explore followers’ interaction with the influencers and reasons for the success of its marketing method. Bullet chats are a unique way to observe target consumers’ reaction to the advertisements. The author found that word-of-mouth marketing, the right audience and influential people are important factors for the success of UGC advertising. Besides, this marketing strategy is not limited to the marketing of mobile game advertisements, but can also be used for the marketing of other products. However, the prerequisite for this marketing method to be effective is that the advertised product or service has good quality


2021 ◽  
Vol 18 (1) ◽  
pp. 65
Author(s):  
Afnan Qutub ◽  
Merfat Alardawi

This quantitative study examines Saudi viewers’ perceptions of the Japanese anime Attack on Titan. Data collection was undertaken by means of an online survey of 346 viewers of the animation, aged between fourteen and thirty-eight. The results indicated that the most popular characters were Levi, Eren, and Mikasa, with the least liked being the Armorer Titan, the Female Titan, Sasha, and Christa. The research found that the participants were attracted to scenes including fights between human and Titans, flying blood, and dialogue. The viewers expressed an interest in the unique scenario of the series, as well as each character’s tone of voice and facial expression. Finally, the hypothesis testing (Ho) of viewers’ tendency to like characters based on gender was accepted as confirmed by the 2-tail test (.042), i.e. the participants tended to prefer male characters. This study recommends that future research applies content analysis to provide further insights into the reasons behind the identified preference for male characters.


2021 ◽  
pp. 217-250
Author(s):  
Giulia Lavarone ◽  
Marco Bellano

Film-induced tourism, intended as travelling to places where films and TV series have been shot or set, has been extensively studied in the last two decades in several disciplinary fields. For example, the term ‘media pilgrimage’ emerged in media sociology to highlight the sacred dimension these practices may assume, while fan studies have focused on the narrative of affection built upon specific places. Calling forth the relationship between film and landscape, these phenomena have been also explored in the light of film semiotics and media geography. In the past decade, the representation of landscape and the construction of the sense of place in animation benefited from increased scholarly attention; however, the links between tourism and animation still appear under-explored. Japanese animation, because of its prominent use of real locations as the basis for the building of its worlds and the tendency of its fanbases to take action (even in the form of animation-oriented tourism), is an especially promising field, in this respect. In the last fifteen years, a debate on ‘content(s) tourism’ has involved the Japanese government as well as academic scholarship, referring to a wide variety of contents, from novels to films and TV series, anime, manga, and games. The article presents a case study: a discussion of the experience of anime tourists who visited the Italian locations featured in the films by the world-famous animator and director Miyazaki Hayao, especially in Castle in the Sky (1986) and Porco Rosso (1992). The experiences of anime tourists were collected from images and texts shared through the social network Twitter.


2021 ◽  
Author(s):  
Yuya Takahashi ◽  
Marc Salvati ◽  
Andreas Bauer
Keyword(s):  

2021 ◽  
Author(s):  
Yuki Koyama ◽  
Takeshi Tsuruta ◽  
Heisuke Saito ◽  
Daisuke Takizawa ◽  
Hiroshi Moriguchi
Keyword(s):  

2021 ◽  
Author(s):  
Pranjal Singh ◽  
Gondi Surender Dhanunjay ◽  
Thakur Santosh ◽  
Bhavana S ◽  
K. Vengatesan ◽  
...  

This paper analyzes the Japanese Animation (Anime), their art style, how it is created, about popular Anime series and movies, their growth, and adaptation in India and mainly about the growing Anime fans. Majority of Anime series and movies still use two-dimensional (2D) animation style even though there are constant technological advancements in the field of media and entertainment. Though there are setbacks in Anime, we can observe that the growth in Anime viewership is constantly rising. The animation pipeline system that is involved in the making of an Anime will also be explained in detail for a better understanding of the animation process. A research is conducted through a questionnaire form to collect the required information for the study. The data collected is examined methodically and reported. The respondents are the Anime fans, Anime viewers, Anime influencers of all age groups. The survey is mainly to understand why they prefer watching Anime, how often they watch anime? what do they like about it? how were thy influenced to watch Anime? and if Anime fans influenced other individuals to watch Anime and how many people have, they influenced to watch Anime.


2021 ◽  
Vol 2 ◽  
pp. 1-26
Author(s):  
Zoe Crombie

This article examines how Studio Ghibli constructs the mundane activities shown in their films as spectacular. Looking at the history of the ways in which domestic and routine events are depicted in Japanese animation, I will use various methodologies, beginning with formalism and phenomenology before moving on to feminism and Marxism to critically analyse several Ghibli films as case studies – My Neighbors The Yamadas (1999, Hōhokekyo Tonari no Yamada kun), Only Yesterday (1991, Omoide Poro Poro), and Howl’s Moving Castle (2004, Hauru no Ugoku Shiro). Using these methodologies, the films are placed into a broader cinematic context, and the filmic legacy of their treatment of the mundane is explored.


Animation ◽  
2021 ◽  
Vol 16 (3) ◽  
pp. 207-220
Author(s):  
Tom Mes ◽  
Francis M Agnoli

With the eternally looming spectre of Miyazaki Hayao’s retirement, the death of Takahata Isao and the failure to establish a viable new artistic figurehead to follow in their footsteps, Studio Ghibli has been at a crucial crossroads for some time. Over the past few decades, the acclaimed Japanese animation studio has adopted three main strategies to cope with these changes: apprenticeship to foster new talent, co-productions both domestically and abroad, and shutting down their production facilities. Each approach has affected Ghibli’s evolving brand identity – and the meaning of the ‘Ghibli film’ – causing confusion in the international critical reception of the resulting movies. Academic approaches too have shown difficulties dealing with recent shifts. While conceptualizing the ‘Ghibli film’ as the product of a studio brand or as the work of auteurs Miyazaki and Takahata has proven useful, such frameworks have become inadequate for accommodating these changes. This article therefore proposes a new approach for understanding recent ‘Ghibli films’, arguing that, rather than being treated as a brand or genre, they have increasingly been fashioned along modular lines.


2021 ◽  
Vol 2021 ◽  
pp. 1-5
Author(s):  
Chenmei Li

The development of 5G technology has brought tremendous changes to all areas of social life, especially in the external communication of culture; the increasing effect of 5G technology has become more obvious. All kinds of new media are constantly emerging, and the expression of cultural products is more diversified, and they also have certain characteristics of their own national cultural symbols. As one of the important representatives of Japanese modern and contemporary culture, animation works have made extremely outstanding contributions in promoting the spread of Japanese culture. Japanese animation is not only second to none in Asia but has also many fans all over the world. This article takes the characteristics of Hayao Miyazaki Animation’s external communication under the background of 5G as the starting point and deeply analyzes the impact of technological background changes on the external communication of Japanese traditional culture. Through data comparison, it is found that with the support of 5G technology, people’s habit of watching videos has changed a lot, from mobile terminals and short videos in the 4G era to large-screen projections and long animations in the 5G era. In a certain sense formed the return of the animation viewing form to the television era at the end of the last century. The number of video clicks on major websites shows that the number of Japanese animation products represented by Hayao Miyazaki Animation has increased significantly. Moreover, the age and occupation coverage of the audience is also very wide. The survey shows that people’s appreciation of Hayao Miyazaki’s animation at this stage is not only the attractiveness of the plot itself, but the deep meaning behind the animation is also the focus of attracting them. This gives Hayao Miyazaki Animation a higher level of appreciation value, that is, guiding countries that have suffered from the side effects of industrial civilization to rethink the relationship between ruleism and development speed. The research results suggest that the development of 5G technology has given traditional Japanese animation new characteristics in the dissemination of it and directly affected the cross-cultural dissemination effect of Japanese traditional culture. Discover the essence of respecting nature and observing rules in Japanese traditional culture to better serve our social development.


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