The European experience with Japanese animation, and what it can reveal about the transnational appeal of anime

Pellitteri, Marco

doi:10.1080/01292986.2020.1862263

Cited by 8 publications

(7 citation statements)

References 22 publications

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“…Multiple firms, including television stations, publishers, animation production companies, and advertising agencies, invest collectively and share income under the traditional Japanese animation production model, the production committee system. This approach makes it simpler to acquire money and share risks, but it has apparent drawbacks: due to its capitalistic character, production committees often reduce production budgets to improve productivity, resulting in poor earnings for animation practitioners and a severe brain drain [6]. In addition, the growth in the number of stakeholders and their intervention in the production of animation has resulted in a variety of issues, including a reduction in animation production efficiency and content quality.…”

Section: Japanese Animation Production Modelmentioning

confidence: 99%

Japanese animation development and market strategy

Guo¹

2023

BCPBM

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This article will first briefly describe the development process of Japanese animation, and outline that the Japanese animation industry struggled to survive in the Japanese market in the early days, gradually developed and seized market share in the mainstream European and American animation at that time, and successfully seized the international market share. After several difficulties and crises, it finally became the history of Japan's proud cultural soft power. After that, this research will analyze the impact of streaming media platforms on the Japanese animation market in the current booming Internet era, and briefly talk about the opportunities and challenges he faces. At the same time, some measures and changes of the Japanese animation industry in response to the new media crisis will be listed. Finally, it analyzes how the Japanese animation market grows gradually in Japan's domestic market and international market, and analyzes the strategy in the face of changes.

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Section: Japanese Animation Production Modelmentioning

confidence: 99%

Japanese animation development and market strategy

Guo¹

2023

BCPBM

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“…The country origin of exotic artifacts perhaps is not a key issue. Japanese or Korean popular culture is now consumed fervently by youths in Asia and beyond (Pellitteri 2021;Yoon 2018). What matters is the degree of "coolness".…”

Section: Youth Andmentioning

confidence: 99%

Youths and Varieties of Globalism in Asia: an Editorial Introduction

Tsai

2022

Youth Glob.

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How global and local forces play out in affecting youths in different places is a most intriguing question for researchers concerned with youths in an era of globalization. The challenge is to develop systematic conceptions to compare and understand the agencies and meanings of global and local practices by young people. This special issue, titled “Youths and varieties of globalism in Asia”, can be seen as an endeavor to fulfill this goal. Four articles collected herein offer new empirical findings and explore new frontiers across Japan, Taiwan and Australia. They together represent a feast of innovative ways to examine the links between young people and globalization.

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“…However, as Havens (2006) explained, it becomes a difficult genre for local competitors, since purchase and dubbing is cheaper than production. All this underlines the dominance and huge influence in the European territory by transnational media conglomerates, mainly the United States (Bignell, 2011;Fernández-Ramírez & McGowan, 2020;Livingstone, 2012;Smith, 2004;Westcott, 2002), a market dominated by the big three (Cartoon Network, Disney and Nickelodeon) (Westcott, 2002); and Japan (Ferrera, 2020;Pellitteri, 2004Pellitteri, , 2021Wells, 2004). Content from this latter market was introduced to Europe between the 1980s and 1990s and quickly became popular with the public, among other reasons due to penetration policies based on very low prices (Pelliteri, 2021;Rusca, 2012) and its mukoseski nature (Napier, 2001).…”

Section: Children's Content On European General-interest Channelsmentioning

confidence: 99%

The role of cartoons on European generalist televisions between 2010 and 2020

Gómez-Bernal

Muñoz

Delgado

2022

Communication & Society

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Cartoons have been and still are a fundamental genre in children’s television programming and are a key product for the media industry due to their easy interpretation by children and their presence in distribution channels. This paper presents an analysis of the supply of children’s and cartoons broadcast over the last decade on 25 European general-interest television channels, both public and private, of Germany, Spain, France, Italy and the United Kingdom. The research findings focus on the genre programming strategies applied in terms of channels, broadcasting time slots and types of production in a multiplatform context driven by the consumption of digital content through streaming and SVOD services. The results show the continued leadership of cartoons in an environment of scarcity of children’s supply on European generalist television channels, reaffirming itself as a morning and weekend product highly shaped by commercial logics. However, distinctive programmatic policies are prominent in the role of public broadcasters in the supply of domestic products, both due to the broadcasting quotas of local cartoons and the consistency of their strategy over the period 2010-2020.

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The European experience with Japanese animation, and what it can reveal about the transnational appeal of anime

Cited by 8 publications

References 22 publications

Japanese animation development and market strategy

Japanese animation development and market strategy

Youths and Varieties of Globalism in Asia: an Editorial Introduction

The role of cartoons on European generalist televisions between 2010 and 2020

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