Sample Essay on How Japanese Animation Affects the World

How Japanese Animation Affects the World

The use of animation in the Japanese culture can be traced back to the 12th century through the works of a Japanese monk, Niaoyu. These woks were characterized by the use of personified ironies against political corruption that had become a characteristic of the Japanese society (Adachi 13). During the Second World War Japanese animation, Manga was used as a tool for propaganda by the Japanese government. However, at the end of the war, the Japanese animations were embraced as part of the entertainment and marketing sectors (Macwilliams 30). The main objective of this paper is to assess the effects of Japanese animations on the global platform. This will be through an assessment on the roles that these animations play in different sectors of the world’s economy.

The Manga power, which is definitive Japanese animation, is consider as the largest exporter of comic and animation on the international platform. Almost all nations in Asia and the world have their own rendition of Japanese animations (Adachi 17). Through different comic and animation cultures such as the Comic Casf, Cospaly and Comic Rental among other animations, the Japanese have been successful in the penetration of consumer cultures across the entertainment and marketing platforms in the world (Brenner 34).

Most animation artists in Asia operate from the influence of Japanese animations. The influence is often in terms of design of the animations, format, perspective, story, plot and the system of production (Brenner 20). China for example is often celebrated for its comic culture Kung Fu. In the early 1980s through the works of comic artists, Huang Yulang used influence derived from the design of Manga, Japanese animation, in the making of Kung Fu comics (Hu 26).

 The use of Japanese comic in China is an indication of the prevalence of the culture in the Asian region. The government of China has been advocating for its artists to introduce novel ideas in the comic and animation industry. This aims at reducing the influence of the Japanese comic in the Chinese markets (Adachi 19). Despite these policy directives to promote Chinese styles in the animation industry, Japanese animations continue to influence the ideas and creation of upcoming artists. This explains why comic magazines in China such as Beijing Comics and Kings of Comics were presumed to be popular due to their decision to incorporate Japanese Music up, a Japanese cartoon series. Music up was therefore Chinese rendition of elements of Japanese animation (Hu 29).

The entertainment industry in Asia and in the world has been characterized by the adoption of Japanese Manga. Film works such as Prince Peacock and Initial D have been considerd as collaborative efforts to improve the film industry in China (Lukács 40). These efforts by Japan and China have also been influenced by the desire to outdo Hollywood in the film industry (Adachi 26). Korea for instance can be considerd as the most influential country in film industry within the Asian continent. The popularity of this industry has been because of its ability to incorporate different aspects of Asian culture in the production of animated materials (Macwilliams 25). In addition, the popularity of this culture has also been related to the ability of these cultures to share in the production of essential aspects that define the film industry in Asia (Brenner 29). This popularity is also based on the understanding that while the rest of Asia is learning from Japan, Japan uses its ability to market and popularize its products in learning more about the development of animations in ways that create greater competitive advantages and in the expansion of its influence into new markets (Hu 30).

In terms of the relationship between Japanese animation and the Laws on intellectual property, the prevalence and popularity of any comic industry is largely dependent and the available legal procedures that define its use and modification. From intellectual property perspective, animations such as dojinshi can be perceived as a breach of intellectual because the creators of these animations often embrace existing characters in developing their animations with seeking the permission of the owners (Adachi 44). This is possible among the Japanese and artists who are seldom sued. This culture that characterized development of animation among the Japanese influences the creation of different version of a specific animation (Hu 33). This explains why in countries such as Britain and the USA, it is easier to use Japanese animation in the creation of individual versions of the selected animations. The liberal nature among the Japanese is perceived as a greater competitive advantage over other competitors such as Disney whose expansion and influence on the entertainment platform has been hampered by strict measures of intellectual property (Brenner 30).

Dojinshi has been considerd as a successful approach towards popularizing Japanese animation on the global platform considering that it allows upcoming artists to use existing works of animation in the creation of new ideas (Lukács 50). For artists to be able to accomplish the dojinshi culture allows artist to begin the process of learning the art of animation by appreciation the existing beauty and the operations of animations (Adachi 57). This is followed by the analysis of techniques that can be used in the development of individual animations. It is also a requirement that the artists intergrate their lives together with their operations. From the dojinshi approach, it is possible to argue that this is one way through which the Japanese promote creativity and popularity and their animation culture on the global platform (Hu 42).

The other distinguishing feature between Japanese animations of other competitors such as Disney is that the former approaches the overseas copyright market with a mild attitude. This has enabled different comic and animation artists to consider the less restrictive and free to modification animations by the Japanese (Lukács 60). Huang Yulong, a pioneering Manga artists in China produced an animation, Little Rascals, numerous aspects of this Chinese comic story was borrowed form Wild Seven, a Japanese comic animation (Brenner 36). The only difference between these animations was that Little Rascals was a highly inflicted by Chinese martial arts, Kung Fu while the Wild Seven took the approach of James Bond type of movie where the actors embraced modern  and sophisticated weapons (Hu 46).

Other than the liberal laws on intellectual property, the popularity of the Japanese animation on the global platform can also be assessed on the methodologies that the Japanese have used in the distribution of the products. Japanese government instance has played an essential role in the regulation of its overseas markets. This has been improved through the provision of free animations in different markets around the world (Adachi 89). The Japanese Ministries in charge of foreign affairs often spend billions of yen in the purchase of copyrights from local Japanese producers to enable the supply for free animation to different countries. This often perceived as a marketing strategy towards popularizing the initiatives of Japanese artists (Hu 48).

The animation distribution companies in Japan operate on similar distribution approaches as those of Hollywood. This includes dubbing into languages of countries that understand languages other than those spoken in Japan (Brenner 41). In addition, Japanese animation industry also incorporates the use of subtitles in Japanese language tracks. This has enabled the Japanese to access additional markets in the animation industry (Macwilliams 30). The popularity of Japanese animation in South America and in Asia is due to the capacity of the industry to edit cultural references, which are in agreement with the prevailing cultures in the target markets (Adachi 89). The ability to adequately follow the references of non-Japanese culture has enabled Naruto, one of the most popular animations among the Japanese to improve in terms of marketing (Brenner 40). It is advantageous for the industry to embrace English as a language in its editing endeavors especially when exporting the animation to English speaking countries. The depiction of different cultures in this animation provides different markets with the platform of understanding different cultural orientations and embracing the most celebrated culture (Hu 50).

The popularity of Japanese technology can be said to be contributing factors in the distribution of Japanese animation. Other than the inclusion of manifold language trajectories into simple products, TV Tokyo in Japan and the Cartoon Network in the United States and Anime central in the UK have facilitated the broadcast of Japanese animations in different markets around the world (Hu 50). In addition, internet technology has also played an essential role in exposing Japanese animation beyond Asian borders. Through different expositions in countries such as the USA, UK and other Asia countries, Japanese animation has been able to advance in terms of popularity (Adachi 18).

Despite its prevalence and popularity in the film industry, Japanese animation has also been faced by numerous challenges. In 1980s for instance, one of the most popular Japanese animation Television series, Mazinger Z, was canceled for airing in Spanish television (Hu 57). This was due to belief that it was characterized by numerous instances of violence hence dangerous in the socialization of Spanish children. This is an indication that one of the most outstanding challenges of the industry was the desire to blend elements of violence and story in a manner that could be appreciated by different members of the society (Macwilliams 36). There is also an increase in competition levels especially within the Asian continent. South Korea and China for instance are in the process of investing in film and animation industry as a way of grooming homeland talent and reducing the influence of the Japanese industry (Brenner 56).

In conclusion, the Manga power, which is definitive Japanese animation, is consider as the largest exporter of comic and animation on the international platform. Almost all nations in Asia and the world have their own rendition of Japanese animations. The animation distribution companies in Japan operate on similar distribution approaches as those of Hollywood. This includes dubbing into languages of countries that understand languages other than those spoken in Japan. Despite its prevalence and popularity in the film industry, Japanese animation has also been faced by numerous challenges, such as competition from Hollywood and film industries in China and South Korea.

 

 

 

 

Works Cited

Adachi, Reito. A Study of Japanese Animation As Translation: A Descriptive Analysis of Hayao

Miyazaki and Other Anime Dubbed into English, 2012. Print.

Brenner, Robin E. Understanding Manga and Anime. Westport, Conn: Libraries Unlimited,

  1. Internet resource.

Hu, Tze-yue G. Frames of Anime: Culture and Image-Building. Hong Kong: Hong Kong

University Press, 2010. Print.

Lukács, Gabriella. Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in

1990s Japan. Durham, NC: Duke University Press, 2010. Print

Macwilliams, Mark. Japanese Visual Culture: Explorations in the World of Manga and Anime.

Cambridge University Press: Cambridge