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Practice Reading: Fill in the Blanks (Dropdown)
ID: #50886
Manga
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If Japan's rise to economic superpower dominated U.S. academic discussions in the 1980s, the last 15 years or so have been by an intense fascination, both in academic and popular discourse, with the country's perceived increase in global cultural influence. As Pokémon and Hello Kitty invaded U.S. TV screens and supermarket aisles at a time when, paradoxically, Japanese economic influence was on the decline, U.S. scholars started to point to the emergence of a new kind of Japanese superpower. The discussion shifted from Japan's Gross National Product to its "Gross National Cool". The characters in Japanese animated cartoon series and in the related genre of manga (Japanese-style comic books or graphic novels), along with their video game cousins, came to symbolize a new order in millennial capitalism by a decline in U.S. cultural hegemony and the fragmentation of global powers. Thus, Japanese animation provides a logical starting point to an analysis aimed at decentralizing the role of the United States as the world’s most significant global cultural producer. This chapter will demonstrate, however, that while intending to point to Japan's growing influence and to a relative decline in U.S. power, the academic and popular discourse about Japanese animation's "global" popularity has paradoxically resulted in the re-centralizing of the United States as both a global cultural producer and a consumer of globalized cultural forms. Turning a translocal lens to the genre's transnational spread, this chapter illustrates the multiple ways in which this discourse is problematic. Throughout the chapter, the names of a few scholars will frequently reappear. These scholars are most assertively critiqued here not because their work is particularly problematic but, , because they have produced the most comprehensive and sophisticated studies of Japanese animation and/or comics.
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