Introduction
animation has increased exponentially across the world in the last ten years. Total sales of anime and related character goods rose to ¥9 trillion (US$80
billion) in 2002, up from less than a tenth of that a decade earlier.
Despite Japan’s flagging revenues in other markets from steel to manufacturing and heavy industry, the Wall Street Journalrecently commented that “Japan has more than made up for it because of its cultural exports.”
Indeed, Prime Minister Junichiro Koizumi lauded anime in his 2003 opening speech to the Diet. Using Spirited Awayas a pointed example, Koizumi asserted that anime has become the savior or Japanese culture.”
Considering all of this “hype,” we ask the question: how did anime, once regarded as a product produced for and consumed by Japanese children, become such a powerhouse in the
global media market? The answer lies in the international pull, not push, of anime to other nations’ shores. A wave of internationals became interested in anime, manga (Japanese comics), and other cultural products as they studied or served in the military in Japan in the 1960s and 1970s, at the very moment that the slogan “Japan as No. 1” began to reshape that country’s popular consciousness. Those who returned to America wanted to share anime and manga with their friends. The introduction of the VCR into the American and
Japanese mass markets in 1975 made this possible: for the first time, fans could tape shows to show others in America.
Initially unable to share because of the Japanese-English language barrier, fans were relegated to explaining the bare basics of an anime plot as a slew of fantastic imagery and incomprehensible anguage bombarded audiences at the back of science-fiction conventions. Worse yet, a reader might struggle with the “backwards text and images” of manga alongside a Japanese-competent friend. As Henry Jenkins once commented about this period, “We didn’t know what the hell they were saying, but it looked really cool.”
New technology and distribution networks quickly enabled fans to proliferate their anime
message. What followed was the birth of fan distribution—a process of releasing anime shows on a vast underground network of fans throughout the country. Following a shift in the constitution of the fandom, fansubbing, or translation and subtitling of anime videos, was added to the distribution process by 1990. After leaving college, many fans started anime companies, becoming the industry leaders of today. Read More →