Annotated Bibliography

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Anime industry代写 In this article, İbrahim AKBAŞ seeks to establish a connection between anime, manga, and the Japanese foreign policy.

Article 1 Anime industry代写

Álvaro David Hernández Hernández. 2018. “The Anime Industry, Networks of Participation, and Environments for the Management of Content in Japan.” Arts, Vol 7, Iss 3, p 42 (2018), no. 3: 42. doi:10.3390/arts7030042.

The writer, Álvaro David Hernández Hernández, is a Project Promotion Office for the International Center for Japanese Studies in Kyoto, Japan. He held an interest in studying video streaming sites which has caused an uproar in the Japanese animation industry calling for transnational measures to adapt to the new changes in the midst of unfair video sharing competition. Notably, this paper focuses on the survival tactics in the anime industry through examination of an ideal situation. And a business model in animation production as well as the market.

Anime industry Anime industry代写

To illustrate the concerns of the anime industry he uses the Kadokawa Dwango Corporation to demonstrate an ideal practice. Which integrates both the consumer practices and interests of the animation industry. In an endeavor to achieve this, the writer cites various press releases, journal articles, videos. As well as the opinion posts in support of his agreements. Eventually, he concludes that the business model applied by the Kadokawa Dwango Corporation is to create value rather than content creation. Through the integration of the customers in the fictional world.Anime industry代写**范文

The resource is essential in informing my research on the performance of the animation industry in Japan market where there is competing platforms other offering free contents. In this regard, it will expound on the business model to apply in the transformational market.

Anime industry代写
Anime industry代写

Article 2 Anime industry代写

Marco Pellitteri. 2018. “Kawaii Aesthetics from Japan to Europe: Theory of the Japanese ‘Cute’ and Transcultural Adoption of Its Styles in Italian and French Comics Production and Commodified Culture Goods.” Arts, Vol 7, Iss 3, p 24 (2018), no. 3: 24. doi:10.3390/arts7030024.

Marco Pellitteri is a lecturer at Shanghai International Studies University in the School of Journalism and Communication. Being a communication expert, he had interest in kawaii and its values to the Japanese by analyzing how its aesthetic value has been able to enter into the international market. The article emphasis how the culture of cuteness has found its way to the international market especially Europe. He illustrates how the Japanese culture of kawaii has been used in animation and comics in Italy and France.

The article also addresses the impact the kawaii has made to the international kawaii lovers especially the youths. Anime industry代写

To achieve the article objectively, Marco widely utilized books covering the kawaii and manga literature, transcultural texts, videos, press releases. And journals articles as well as anime and manga. These sources informed his work of evaluating the kawaii aesthetic value in the international market. In this regard, Japan cute culture has been used in animation and comic production in Europe although for different reason and culture. In the end, Marco concluded that kawaii is no longer a representation of Japanese culture in Europe as it might be presumed to be.Anime industry代写**范文

He found out that, the dominant features in the kawaii culture are no longer being consumed in the same way but somewhat differently, probably by their culture. As such the so-called kawaii imitated from Japanese culture is being taken in a different perspective and context in those countries it finds its way in, in all aspects of productions. In this case, the article is essential in informing my argument in the transcultural market through anime to the Europe markets as well as the consumption trends of such utilities considered culturally valuable in the Japanese market.

Article 3 Anime industry代写

Marta Zorko, and Hrvoje Mostarac. 2014. “Popular Geopolitics of Japan: Geopolitical Discourses of Anime.” Medijske Studije, Vol 5, Iss 10, Pp 4-18 (2014), no. 10: 4. http://165.193.178.96/login?url=http%3a%2f%2fsearch.ebscohost.com%2flogin.aspx%3fdirect%3dtrue%26db%3dedsdoj%26AN%3dedsdoj.f45353caa402496fa690057d2ea94b7d%26site%3deds-live.

Marta Zorko is a deputy dean of students in the department of international policy and diplomacy at the University of Zagreb. The writer focuses on the geopolitics of populace attached to the culture embedded in the anime. In the Japanese perspective, anime is a representation of culture play in the market geopolitics. The article views anime as having global recognition as the tool of entertainment at the same time carrying the Japanese culture.Anime industry代写**范文

In the bid for a solution, he analyzed three anime which were Tokyo Magnitude 8.0, Earth Maiden Arjuna and Mobile Suit Gundam. In so doing, the writer uses various sources in support of the arguments he put forth. Mainly the paper utilizes scholarly works, periodicals, opinions, and anime. In this regard, the author concluded that, although the Japanese have global recognition. They instead not consumed in the perspective that they constitute Japanese culture but just an entertainment tool. The article is applicable in the understanding and support of my argument about Japanese Geopolitics. (I could not get the English version of this article except for the abstract)

Article 4 Anime industry代写

AKBAŞ, İbrahim. “A” Cool” Approach to Japanese Foreign Policy: Linking Anime to International Relations.” Perceptions: Journal of International Affairs 23, no. 1 (2018).

In this article, İbrahim AKBAŞ seeks to establish a connection between anime, manga, and the Japanese foreign policy. The primary goal of this article is to examine how Japan forge its ways into building bridges for better international relations. This way it benefits in selling its soft powers in the form of culture. In this respect, the writer examines the soft power of the Japanese being the anime and the manga. To achieve this, he divided the article into three parts where the first one conceptualizes on the soft powers. After which international policy about Japanese is described. And finally the explanation of the cool Japan Project.Anime industry代写**范文

Foreign Policy

In so doing, the article utilizes the various supporting evidence inform of scholarly journals, press releases, opinion, and reports, as well as videos. These resources helped the author to reinforce the authenticity and validity of his arguments. They also help him arrive at the research conclusion in which he stated how Japan lack hard power only has soft power to rely on in the international policy. Also, the article argues that Japan develops its international relationships through the use of cultural exchanges through pop-culture, friendships, and cooperation. This source is essential in understanding the strengths that Japanese has in the international market.Anime industry代写**范文

It is, therefore, supporting evidence of the various ways Japanese culture embedded in anime and manga help in creating good relationships with other nations.

Anime industry代写
Anime industry代写

Article 5 Anime industry代写

Drazen, Patrick. Anime Explosion!: What? Why? Moreover, Wow! of Japanese Animation. Stone Bridge Press, 2014.

The book is the work of Patrick Drazen who is a renown author of several books besides Anime Explosion which includes Holy Anime!: Japan’s View of Christianity and A Gathering of Spirits: Japan’s Ghost Story Tradition. He works and in Chicago. His enthusiast in writing began when he as still young where he was taught to read and write before he could join kindergarten. Anime Explosion being his first work is centered on the growth of anime as the epitome of entertainment. Which also embody the Japanese culture, values, and teachings for Japanese.Anime industry代写**范文

In this work, he portrays anime as a means of entertainment but also a form through which the culture and values are instilled. He also used the work to compare the western animation and Japanese.

In his opinion, the anime is produced for Japanese without the intent that they will be used outside Japan. Anime industry代写

On the other hand, western production is produced for the whole market. As such, the anime of Japanese aim to reinforce the nation’s culture. While the western aim to propagate its convoluted culture. In this regard, the writer uses anime illustrations to prove his claims. In essence, he portrayed anime being superior to the western animation. His research sources are the internet, Japanese history books, scholarly works, and anime. It is therefore evident that the writer concludes that the Japanese animations are the form through which the culture, values, and entertainment are engraved.Anime industry代写**范文

It is also undeniable that, the Japanese culture through anime have crossed borders thus social transfers. The transferred culture is not likely to be perceived as native Japanese would but rather an imitation of it is evident in some productions. In this regard, the source will be critical in informing how anime is tremendously becoming superior in culture and value transfers in Japan as well as transcultural adoption in the foreign nations.

 

 

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