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Practice Reading: Fill in the Blanks (Dropdown) ID: #50886 Manga
Instructions
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  worlds  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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