The Japanese animation-essay代写

下面为大家整理的一篇优秀essay范文- The Japanese animation，供大家参考学习，这篇论文讨论了日本动画。日本动画不仅对亚洲国家产生了影响，而且一些著名的作品在西方国家也非常出名。日本政府一直让当地的动画传播到全球领域，换句话说，它制作的动画不仅让人们达到娱乐的目的，还向世界展示其强大的经济发展和繁荣的资本主义。

The nation Japan had always been famous for its production of animation due to its creative plots and excellent effects in producing its postproduction. The anime movies and films from Japan do not only have impact on the nations around in Asia such as China, South Korea and Singapore. Some of the famous works are now also widespread in western countries like the America.

In fact, as the number of audiences from the Japanese anime movies and films has been increasing and expanding in a variety of nations, Japanese anime movie and films production companies are also facing other challenges such as how to make sure the anime movies and televisions are suitable for the majority of people in the global world.

Thus, the crew who is charge of the production of Japanese anime movies and televisions are making a lot of changes. For example, according to the research called Globalization and Japanese Animation: Ethnography of American college Students that is written by Masatoshi Tominaga in University, it is said that the Japanese movies and televisions have added a lot of elements such as the heroic spirit in its works. However, in some works like the Nihonjiron, such a television series was made at the aim of expressing the unique culture in Japan. Apparently, as the Japanese culture is getting more and more widespread, the nation has realized the importance of making use of such a trend to let the world know more about Japanese culture.

There are a few works in all the Japanese anime televisions and films that are worth studying such as the One Punch Man. In fact, a lot of American scholars who study the Japanese televisions and movies have understood the culture with the theories of ethnology. Obviously, in order to follow the trend of globalization, the Japanese animated works have to change for its better development. Nowadays, the Japanese animated televisions and films are as simple as the tools to make money. In fact, every nation is a need of certain cultural products that are able to represent its own “soft power” and for the Japanese culture, the prosperous animated films and televisions are the supports of the soft power in Japan.

It is said that the Japanese government has been using its local animated works to spread to the global field to let people understand the national identity. According to McGray, who wrote the Japan’s Gross National Cool, the animated television series like One Piece and the animated films in Japan are the ways for the Japanese government to spread its capitalism. In another words, it is making animated televisions and films not only at the aim of entertaining people but also at the aim of demonstrating to the world its powerful economic development and its prosperous capitalism system.

This form of development in the Japanese animated films and television field is called the transnational media because the nation has produced products that are able to distribute the local goods to the global market. Apparently, now since the internet is getting more convenient, not only the citizens in Japan can get access to the Japanese animation such as One Punch Man. On the contrary, people far away in China can watch the same series with a click of the button.

In fact, the Japanese transnational animated culture has been spreading the ethics of Japanese culture to the world. The current media product such as the I phone and the four G network with extraordinary speed that have crossed nations’ borders are the tools that helped the development of the Japanese transnational animated culture.

Therefore, the Japanese culture is globalized and its unique element is now well known in Asian countries and western countries. What’s more, its local product has been put in a global market, which will end up letting the world know that Japan is a powerful capitalism nation with a lot of high tech products and with one of the world’s best production in animation, so the locally entertaining product is now a global symbol for the nation’s soft power.

Corpus/Archive

Among all the famous works in Japanese animation field, there are two successful western adaptions of Japanese animation, Pokemon(1996) and HayaoMiyazaki’s work, Howl’s Moving Castle (2004).

Pokemon was once known to be simply a character in an interesting Japanese animated series. However, the Pokemon franchise company had made a lot of money because it had made use of the popularity of the character to make video games, card games and dolls and so on. This character was originally an animal from the local animation in Japan. However, now it is a franchise of products being well known in the global world. For example, in both the western countries and the Asian countries, people are paying for the games which are relevant to the character Pokemon.

Thus, this can illustrate that the Japanese animated television series and movies have been circulated and distributed around the global scale. For another animated movie called Howl’s Moving Castle, it was originally a Japanese film about a boy who was lucky enough to have an amazing trip. However, now Howl’s Moving Castleis not only a Japanese animation film. If we search the key word “Howl’s Moving Castle” on amazon or other shopping platform such as Aliexpress, we will be able to see all the decorations like shoes and jewelry with pattern of characters from this movie. Therefore, this local symbol is now an international symbol of all those who are fascinated about Japanese animation films and televisions.

In fact, according to Stephen Teo in his book The Asian Cinema Experiences: Space, Style and Theory, it is said that the Japanese anime industry as originated from the beginning of the twentieth century. At that time, it was also the most pure film movement in the world. Apparently, from the beginning or from the birth of the Japanese anime industry, it has been relevant to the development of film in the world because this pure film movement’s supporters believe that it is important to create Japanese films and television series that are suitable to be put in the foreign market as well. Therefore, they have decided that when they choose plots and elements to be shown in the animated movies and televisions, they need to choose those that can easily be comprehended by those who are accustomed to the western films as well.

Animation is produced not only to reap profits and entertain people. On the contrary, they are created because the nation Japan is in need of demonstrating its power in front of the world, especially its military power by presenting people how powerful the supermen in the animation can be with a set of high tech weapons.

Gap/ Issue

In most countries, there is one trend call the Americanization in their cultural products. For example, many Asian countries in the past were very traditional and conventional. However, now because of the influence of the American culture such as its Hollywood films and its ideology, these nations now are producing films and televisions series with a wider range of topics such as homosexual love and the wild parties. In fact, Americanization is known to be a dominant force in the global world that has gradually infiltrated in the cultural products from other nations.

Therefore, now the cultural works such as the television series, movies and art works are becoming homogenized, which means that they are more similar and they are losing its uniqueness, including the Japanese animated film. For example, there are a lot of complaints about some low quality Japanese anime series in which the crew had only presented to the audiences the low and deep cleavage and the smooth thigh. Apparently, in these works, the uniqueness and essence of the Japanese animation culture had lost and they are created solely to fit the tastes of the people in the Americanized world.

In fact, other critics and scholars who study this field had understood that because the development of the non-western countries is somehow slower than the developed nations in the west. As a result, the industries such as the animation production industry had to combine the cultural elements from the western nations in hope of getting their cultural products circulating in the world. In addition, according to other research, the globalization is not only regarded as the so called “one-way transfers of culture from the center to the periphery”. This “one-way transfers of culture” actually means that the American culture is being spread to Japan and other regional cultures in other nations.

In the book called the Disjuncture and Difference in the Global Cultural Economy Theory Culture and Society written by Appadurai, it is said that now most of the cultural products such as the Japanese animated films and televisions are a part of the “economic capital in the world.” In the global scale, very few products are local or regional now but instead, most of them are in fact transnational cultural products that are able to fit in a variety of nations which include China, America and many other Asian nations as well.

However, the scholars have found that this will cause one issue. Compared to the Japanese animated television and the films one or two decades ago, the current Japanese animation products are losing its uniqueness like those in the past. On the contrary, more and more new characters with new features had been created which are suitable to fit the taste of the audiences in the western nations. As Thussu had said that these new image from the Japanese animations are made as the “new adaptable image in western cultures”. For example, the one punch man who can save the world is similar to the Flash in the American culture because both of them cannot be defeated. One of them can push down a huge mountain with one punch and another one can also destroy a huge mountain or even destroy the timeframe by running at his normal speed. Apparently, the new characters we can see in the new Japanese anime television and movies have been transformed or created again at the aim of making them popular in the global market.

This leads to the disappearance of the original Japanese culture. In addition, this will cause the entire nation to be confused about its national identity. While these new works of Japanese animations are spread in the global market, audiences no longer can tell which one is originated from China or from Japan or from the United States of America because all of them are becoming more and more similar. Besides, the Americanization of these products will lose the originality of Japanese animated films and television series and the local people may prefer to shift their focus on the western animation because now it is not easy for them to find how much better the Japanese films are.

Goals

In fact, the Japanese government has been supportive of the widespread of the Japanese animated films and television series because it can help the nation to build up its “soft power” in Japanese government.

These entertaining programs are made with millions of dollars not for the goal of amusing people. On the contrary, it is a step that the nation Japan has to take to develop its economic power, political power as well as the soft power in the global world. In fact, the limit of the development of Japan is that the nation is too small but now in the global world when people are talking about the nation Japan, their first impression of this nation is that it is a small nation with one of the highest technological devices in the world and it is a small nation with the most highly intelligent people in its postproduction that can be compared to the Silicon Valley.

Also, because its popularity of certain characters in the Japanese anime televisions and movies, the western industries have started to adopt more and more Japanese elements in their new artistic productions. For example, since there is a large group of audiences and fans of the Japanese character Pokemon, now a variety of fields including the movie production as well as the game industry in the western nations increasingly adopt the Pokeman figure in their creation.  The reason can be as simple as the people in America are in need of it. However, in this newly re-created form of the Pokeman, the Japanese cultural elements have been lost and now when people are playing games with the Pokeman figure, they no long recognize it as the Japanese icon as a cute fellow furred animal pet. However, now people might recognize it as a new character in the American game in the Xbox series which can spit fire or can run faster than the Flash. For Howl’s moving castle, it has the same consequences as well.

Because now the culture and all cultural icons are globalized, the artistic works are becoming similar and losing their own uniqueness and originality.

Conclusion

In fact, the development of the Japanese animation can represent the globalization of commodities and the adaptation of people’s various tastes in the western nation. I believe that the complex and border-crossing nature of transnational media in global market had led to the globalization of the Japanese movies and television series. However, the changing characteristics of the Japanese artistic works are at the aim of circulating and distributing to more nations. Through the process of transnational corporation, I am aware that Japanese media industries have the goal of increasing their profits by recreating new animation products to adapt to more nations in the global market. Therefore, I aim to debate the image of Japanese anime, which have shifted and become negotiated locally and as a result, turning to be a new product being promoted in global markets, specifically America.

Bibliography

Appadurai, Arjun (1990) ‘Disjuncture and Difference in the Global Cultural Economy Theory Culture and Society vol 7 pp295

Arsenault, A. H and Castells, M. (2008) ‘The Structure and Dynamics of Global

Multi-Media Business Networks’ International Journal of Communication, 1: 707-748.

Artz, L. (2015) 'Transnational Media', in (ed.) Global Entertainment Media: A Critical Introduction. UK: John Wiley & Sons, pp. 71-101.

Hall, S. (1986) ‘On Postmodernism and Articulation’.Journal of Communication Inquiry, 10:2, pp.45-60

Iwabuchi, K. (2002) 'Transnationalism Discourses on Japan in the global cultural flow', in (ed.) Recentering Globalization: Popular Culture and Japanese Transnationalism.America: Duke University Press, pp. 51-84.

Iwabuchi, K. (2004) 'Cultural Globalization and Asian Media Connections', in (ed.)Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas. Hong Kong: Hong Kong University Press, pp. 1-24.

McGray, D. (2002) Japan’s gross national cool. Foreign Policy, 130, 44–54.

Nye, J. S. (1990) 'Foreign Policy', JSTOR, (80), pp. 153-171.

Schiller, H. (1976) Communication and Cultural Domination. White Plains, NY: Sharpe. A.

Thussu, D.K. (2007) 'NonWestern media in motion', in (ed.) Media on the Move: Global Flow and Contra-Flow. New York: Routledge, pp. 59-118.

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