Pourquoi le manga est-il devenu un produit culturel global ?

Abstract

On subit le plus souvent le déferlement de la production japonaise – bandes dessinées, dessins animés en série, jeux vidéo – comme un effet de la puissance économique japonaise et de la déculturation censée accompagner la mondialisation. Pourtant, ce succès s’explique aussi par l’intérêt qu’on peut trouver à cette production qui accompagne, mieux que la bande dessinée francophone de qualité, les évolutions d’un monde postindustriel et global.

Kawaii Aesthetics from Japan to Europe: Theory of the Japanese “Cute” and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods

“…71-79;Nguyen 2016). To this end, it would be possible to posit that in the world of applications of kawaii styles to daily life, a kind of stigma might be at work, similar to that (in the meaning introduced in Goffman 1963) which was found in the subcultural practices related to the passion for manga and anime in the 1990s (Bouissou 2008; 2010). Hence, a relevant research topic to explore would be the otherness and the weirdness of kawaii culture as a constellation of niche subcultures in the European contexts: not only the alleged otherness/weirdness of a culture of kawaii and of its practitioners as seen from the outside, but also the possible otherness/weirdness of that culture of kawaii as possibly perceived within the context itself of those very practitioners.…”