I asked myself this as I came across this subject as my research project. The word "Anime" is just the Japanese word for animation of any kind , and it is pronounced "Annie-May" Marc Marshall. Anime, in a simple sense, is Japanese cartoons. In a more complex and true meaning to anime, its Japanese animation that ranges from children shows to more adult themes. There is a sub-culture to this culture.
Hallyu Wave and Otaku Culture in India Free Essay Sample
As mentioned earlier, the Japanese word otaku has been used to define people with obsessive interests. In the beginning, the term had a negative connotation. Its origins are debated, but many agree that it was used for the first time in in an essay by Akio Nakamori to define unpleasant fans. What sealed the negative image was the case of Tsutomu Miyazaki, dubbed by the press as "The Otaku Murderer.
Otaku - One of the Most Prominent Japanese Subcultures
I believe this is the most simplified meaning of the term that can be found online. This article first discusses its literal meaning, its Japanese meaning, and its outside-of-Japan meaning. Then I will go on by investigating the workings of international online groups of otaku.
Over the past several decades, there has emerged a significant body of academic research in Japan which looks at Otaku culture -- that is, the culture of a technologically literate segment of the population which is characterized by their impassioned engagement, skilled reworking, and intellectual mastery over elements borrowed from many aspects of popular culture, including not only anime and manga, but also games, popular music, digital culture, even history or trains. So far, relatively little of this work has been translated into English, which means that Fan Studies as practiced in the United States and Otaku Studies as it has developed in Japan have largely been autonomous fields. In practice, they have much to learn from each other, including forcing scholars to be more attentive to the cultural specificity of various fan practices, identities, aesthetics, and ideologies. This is why I was so excited when I saw an advanced copy of Fandom Unbound: Otaku Culture in a Connected World , edited by Mizuko Ito, Daisuke Okabe, and Izumi Tsuji, and bringing together works by leading Japanese and western researchers interested in Otaku culture as both a national and transnational phenomenon. In many ways, the book represents a bridge between the western work on participatory culture and networked publics represented by the kinds of work shared here by Ito and Lawrence Eng, among others and work from Japan which has tended to be more rooted in critical sociology and postmodernism.
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