By Sandra Annett (auth.)
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About the Author
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Additional info for Anime Fan Communities: Transcultural Flows and Frictions
Manhattan vaudeville” (Klein 1993, 62), both reflecting and reconstructing the Fleischers’ own experiences of growing up in New York. More particularly, the Fleischers’ works were embedded in the cultural climate of Lower East Side Jewish immigrant neighborhoods. In her article, “Betty Boop: Yiddish Film Star,” Amelia S. Holberg argues that along with the language of the Hollywood-style musical cartoon, “Betty’s cartoons also spoke the language of the Yiddish cinema. ” In this way, “the Fleischer cartoons are a prime example of a unique moment in American cinema in which a product aimed at a 38 ANIME FAN COMMUNITIES mass audience also reflected the concerns and culture of another cinema audience altogether—the audience for the alternative Yiddish cinema” (1999, 302).
Chapter 4, “Channel Surfers: Cowboy Bebop’s Postnational Fans” expands on the potential of children’s fan clubs to look at the birth of anime fan communities among teens and young adults in North America and Japan in the 1970s–90s. Exploring the underground media economies enabled by the development of VCR and DVD technologies, this chapter shows how fans built a sense of community—or, a “community of sentiment” (Appadurai 1996, 8)—across geographical distance based on a shared interest in a common genre: science fiction anime.
In Japan, silent animated cartoons of the 1920s and early 1930s also show a level of reflexivity about their technologies and their status as created works, though not always as explicitly as Western cartoons that literally showed the “hand of the animator” entering the frame. Reflexivity as a visual trope can be understood to “reflect” (and perhaps create) a relation between individual viewers, their social/ geopolitical contexts, and the apparatus of the viewing medium itself. So, in order to understand animation’s international manifestations, we must pay close attention to how animation was framed as such by depicting the animator’s work.
Anime Fan Communities: Transcultural Flows and Frictions by Sandra Annett (auth.)