Abstract
There are many answers to the question that titles this chapter, as the rest of this introduction will demonstrate, but for now it is worth exploring the question itself. Japanese animation, or “anime,” as it is now usually referred to in both Japan and the West, is a phenomenon of popular culture. This means that much (some would argue most) of its products are short-lived, rising and falling due to popular taste and the demands of the hungry market place. Can or even should anime be taken as seriously as the extraordinary range of high cultural artifacts, from woodblock prints to haiku, that Japanese culture is famous for? Can or should anime be seen as an “art,” or should it only be analyzed as a sociological phenomenon, a key to understanding some of the current concerns abounding in present-day Japanese society?
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Notes
John Treat, Contemporary Japan and Popular Culture (Honolulu: University of Hawaii Press, 1996), 12.
Ueno Toshiya, Kurenai no metarusutsu: anime to iu senjô/Metal Suits: The Red Wars in Japanese Animation (Tokyo: Kodansha, 1998), 9.
Arjun Appadurai, Modernity at Large (Minneapolis: University of Minnesota Press, 1996), 12.
Mikhail Bakhtin, Problems of Dostoevsky’s Poetics (Minneapolis: The University of Minnesota Press, 1984), 124.
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© 2001 Susan J. Napier
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Napier, S.J. (2001). Why Anime?. In: Anime from Akira to Princess Mononoke. Palgrave Macmillan, New York. https://doi.org/10.1057/9780312299408_1
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DOI: https://doi.org/10.1057/9780312299408_1
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-0-312-23863-6
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