{"id":4469,"date":"2023-06-21T14:54:15","date_gmt":"2023-06-21T05:54:15","guid":{"rendered":"https:\/\/www.waseda.jp\/culture\/wihl\/?p=4469"},"modified":"2023-06-22T15:36:41","modified_gmt":"2023-06-22T06:36:41","slug":"open-talk-animes-modes-of-globalization-networks-of-performing-animation-july-18","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/culture\/wihl\/other-en\/4469","title":{"rendered":"Open Talk “Anime\u2019s Modes of Globalization: Networks of Performing Animation” (July 18)"},"content":{"rendered":"

Open Talk “Anime\u2019s Modes of Globalization: Networks of Performing Animation”<\/em><\/h3>\n

Anime has come to be seen as a particular type of animation that signifies both Japanese culture and globalization. This creates a tension between the local (Japan) and the global as anime is seen as \u201cJapanese subculture gone global.\u201d But attending to anime as conventionalized animation reveals a very different way of being global, whereby what is supposedly \u201cJapanese animation\u201d is actually animated through a transnational network of production across Asia but centralized in Tokyo. Importantly, it is the performance of anime\u2019s conventions of animation that both enables and hides this transnationality of the final image: the conventions enable a smooth process of production across national borders, but the conventions themselves signify Japanese culture. In this sense, this performance also affords a third dynamic of globalization, a more decentralized, distributed notion of cultural production, not necessarily isolated to one place of \u201cauthentication.\u201d Ultimately, all three of these modes of being global operate in tandem in the performance of anime\u2019s animation.<\/p>\n