Kawaii culture and aesthetics are a peculiarity of contemporary Japan and move across mass media, impulse goods, creative industries, and juvenile tendencies. The concept, graphic styles, and commodities related to a kawaii culture are composite. This article, in its first part, outlines the theories and general features of this cultural trend in Japan and as it is framed in most western countries. In the second part, it also focuses on whether and how the concept and the related styles and commodities have found a place in Europe, with particular reference to Italy and France. These two countries, in fact, have been since the late 1970s the key markets in the Euro-American region for Japanese contemporary culture for youths, namely Japanese comics (generally called manga) and commercial animation (or anime). Anime and manga are, in effect, an integral part of the theoretical discourse on kawaii in the two markets considered, as it is discussed accordingly in the second part of the article. In its last section, the article addresses the impact of kawaii styles on youth cultures in Europe, which is, although limited, multidimensional: it has involved spontaneous drawings among children, a certain amateur and professional comics production, amateur and commercial animation, toys and a diverse merchandising, street art, and fashion design.
In most contributions on the history of Japanese animation overseas, the main focus is on the success of the series or movies; on fans and their practices; on piracy; etc. At times, however, researchers ought to use different frameworks. It is here that the analysis of creative industries can step in. Here a concrete case is reconstructed. In 1978, the animated series UFO Robo Grendizer (1975–77, Tōei Dōga) was broadcast in Italy and France. Its success led to a great amount of merchandising, media coverage and a public debate. Its impact paved the way for hundreds more anime series. The article discusses the role of the traders involved in the transactions between Tōei Dōga and European producers. It will be demonstrated how a few intuitional individuals took their chances in a, back then, growing and competitive television market, and placed a show that ignited a cultural and commercial boom.
Japanese animated series and films are, today, commonly named ‘anime’. Italy is the western market where the highest number of television anime were aired and theatrical anime released: it is a crucial context to assess the impact of anime on Western audiences. There is a lack of literature in English on the topic. This article provides information on the success of anime in Italy, with reference to the theatrical films released before the boom and a bibliography in Italian; indicates the main differences between the booms in Japan and Italy and gives hints on other national markets for anime; discusses the historical reasons of the arrival of anime in Italy; offers explanations on the stages of the success in this country (and in Western Europe) and in the United States before and during the boom, with the US market being a relevant touchstone; outlines the consumption model of television anime in Italy in the 1980s; provides critical remarks on the social–cultural features of the Italian anime boom as distinguished from the impact of anime on other national contexts. The article is informed by a multidisciplinary approach: cultural sociology, comparative media studies and animation studies.
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