#Brophy 100 anime pdf series

This variety in production makes the categories of anime even harder to conceptualize, requiring us to think not just of popular or ciritical categories, but also about industrial understandings of anime’s place in Japan’s media markets. Its styles and content are found in everything from advertisements, to webisodes and short, five-minute episode television series, through to the more standard production of “half hour” serialized episodes made for television, through to a wide range of theatrical and straight-to-video (and now DVD other digital formats) film productions.

Furthermore, anime is more than a single mode of media production. Anime is also highly generic, but is only a genre under highly specific conditions, making a book like this one a necessary intervention into debates about how we understand anime’s complex relationship Anime is for some the very definition of “Japanese animation,” but closer investigation reveals how easy it would be to contest that understanding. It is a shifting, sliding category of media production that refuses attempts to pin it down.

#Brophy 100 anime pdf series

My thanks, too, to the series editors Charles Acland and Mark Jancovich for their support and to the editors at Bloomsbury, and the brilliant feedback from their external reader for helping me complete this introduction to anime’s genres. The funding of several projects that allowed me to get out to Japan to do research. And to Cameron and Lisa Fearing, you were the inspiration for Chapter 5! I also owe a debt of gratitude to several funding organizations, particularly the UK’s Arts and Humanities Research Council, the Great Britain Sasakawa Foundation and the Daiwa Anglo-Japanese Foundation for Thanks, too, to Hiroko Furukawa for her help on the Manga to Movies project, the translations of which make up a large part of Chapter 7 and to Sachiko Shikoda, whose continuing support is invaluable to all of my research. David and Kim Hallam who lent me many useful magazines and regaled me with fantastic anime stories. My thanks, too, to my friends in anime, who have helped me out with Without you, this book simply would never have been. Here are many people who made this book possible, the most important of whom are my parents, Raymond and Sheila, who instilled a lifelong love of anime in me just by letting me watch Saturday morning cartoons, and my partner, John Taylor, who continues to watch with me. Kyōsō Giga booth, new media anime with exclusive merchandise (personal photograph)Ībel Nightroad activates the Kresnik and embraces Madhouse’s booth at TAF 2008 (personal photograph)

Gainax’s booth for the launch of Gurren Lagann at TAF 2008 (personal photograph) Pierrot’s anniversary booth at TAF 2008 (personal photograph) Pokémon’s Pikachu looks over the shoulder of Death Note’s shinigami (death god) Ryuk (personal photograph)Ĭase Closed booth literally attached to one for Detroit Metal City (personal photograph) Hierarchy at Studio Ghibli in Japan Figure 8.1Īstro Boy shows the way to the Osamu Tezuka museum in Kyoto’s train station (personal photograph) Data amalgamated from Yasuo Yamaguchi 2004, 104–106.Ī girl and her mecha, Noa Izumi in Mobile Police Patlabor Hakujaden, Japan’s first color feature filmĬomparison of Japanese boys’ and girls’ genres through texts. Norakuro, Private Second Class and war-time propaganda

Ray Steam uses steampowered jet pack to soar above a sepia-toned London in SteamboyĬhibi wrap party from the Fullmetal Alchemist Premium OVA Collectionĭemonic imagery from Urotsukidōji: Legend of the Overfiend Ghibli Genre: Toshio Suzuki and Studio Ghibli’s Brand IdentityĮxperiencing Japan’s Anime: Genres at the Tokyo International Anime Fair Post-Video Anime: Digital Media and the Revelation of Anime’s Hidden Genres Published: Historical Film: A Critical Introduction Documentary Film: A Critical Introduction Science Fiction Film: A Critical Introduction Teen Film: A Critical Introduction Fantasy Film: A Critical IntroductionĪnime A Critical Introduction RAYNA DENISONīloomsbury Academic An imprint of Bloomsbury Publishing IncĪnime, Video and the Shōjo and Shōnen Genres Each volume addresses key films, movements and periods by synthesizing existing literature and proposing new assessments. Experiencing Japan’s Anime: Genres at the Tokyo International Anime FairīLOOMSBURY FILM GENRES SERIES Edited by Mark Jancovich and Charles Acland The Film Genres series presents accessible books on popular genres for students, scholars and fans alike. Ghibli Genre: Toshio Suzuki and Studio Ghibli’s Brand IdentityĨ. Post-Video Anime: Digital Media and the Revelation of Anime’s Hidden Genresħ. Anime, Video and the Shōjo and Shōnen GenresĦ. Early Anime Histories: Japan and Americaĥ.