Search

This article presents the results of a research project that explored young British readers’ engagement with manga in literary, aesthetic, social and cultural dimensions. Sixteen school pupils from two secondary schools participated in a number of interviews to provide feedback on selected manga and their own participation in manga fandom. The results show that four distinct features characterise this particular cultural group, including exclusivity, competitiveness, defensiveness and transculturalism. This article aims to discuss these features by exploring the political roots of popular culture, the constant negotiation of power both outwardly and inwardly in fandom, and the fan’s desire to engage with an exotic culture through the text. It is noteworthy that the declaration of one’s identity as a manga fan shows a deep level of passion with which fans demonstrate confidence in their expertise and a determination to defend a taste that is considered illegitimate and degraded by institutional authorities. [ABSTRACT FROM PUBLISHER]

The regulation and reception of anime in Britain has, historically, been fraught with difficulty. In 1992, the British Board of Film Classification (BBFC) rejected the first instalment of Urotsukidoji, a controversial series of erotic anime, on the grounds of its sexually explicit content; this decision set a precedent for the way in which they would continue to censor anime for the following two decades. Nearly twenty years later, in 2009, Clause 62 of the Coroners and Justice Act, also colloquially known as the 'Dangerous Cartoons Act', made it a criminal offence to possess non-photographic pornographic images of children, including CGI, cartoons, manga images and drawings. Through an examination of the BBFC's archival materials on Urotsukidoji - Legend of the Overfiend, supplemented by references to a small number of newspaper articles published during this period, this article offers a range of insights into the historical context in which the current series of debates surrounding the 'Dangerous Cartoons Act' can be situated and assessed. These are used to consider the transcultural flow of genres across national borders, and the difficulties that a regulator from one culture encounters when dealing with controversial material originating from another, such as Japan, that has a substantially different set of social values and artistic conventions. Furthermore, this case highlights the important role played by distribution companies in shaping the production and evolution of genres within the transcultural marketplace. [ABSTRACT FROM AUTHOR]

As an embodiment of the shoujo, a specific Japanese representation of 'girl', the schoolgirl often appears as a central character in Japanese popular culture. With the import, and widespread availability, of Japanese cultural products in the West (such as comics called manga, animated movies called anime, toys and games), the Japanese schoolgirl has gained a visibility in Western popular culture, and perceived as cute and shy. In this paper, the way the Japanese schoolgirl is represented in British popular culture is examined, and contrasted with the representation in Japan. It is concluded that cultural context influences the representation and, in agreement with the work of Saito (1996), the British representation is simplistic and distorted in comparison to that in Japan. [ABSTRACT FROM AUTHOR]