Talkin’ About Anime at the Open Video Conference

Been pretty busy this week (as evidenced by the lack of updates). Right now, I’m done in New York, prepping for the Open Video Conference, being held at NYU Law.

I’ll be presenting a talk on Saturday at 5:00 pm called “Online Video Culture: The Case of Fansubs, Anime Music Videos, and Copyright.” What I’m “supposed” to talk about:

The first fansubs (episodes of Japanese animation subtitled by fans, for fans) and AMVs (anime music videos, in which Japanese animation is timed to music) were produced in the United States in the 1980s in fans’ homes on VCR players. Twenty years later, these pieces of videography have proliferated across the Internet, creating an online video culture that has clashed with commercial forces as new issues of distribution and copyright have arisen. Alex Leavitt, a researcher of anime & manga studies and an analyst on the YouTomb project, will discuss the involvement of these fan groups with “illegal” production and file sharing; the videos’ ramifications on copyright law and discussions of free use; and the cultural flow of these fan-produced videos in contention with the new commercial and legal models of streaming sites (Crunchyroll, FUNimation, & Hulu) and sharing hubs (YouTube & Nico Nico Douga).

If you’re interested in awesome talks and interesting people, check out the Open Video Conference website starting on Friday at 10:00 am, because all of the talks will be streaming online for your viewing pleasure. Also, if you can’t take the time out this weekend, all of the talks will be recorded and made available to the world. Check out all the details here.

Animated Fan Production in the Anime Fandom

Introduction

This article is an attempt to organize thoughts around Otakon 2008′s epic opening animation as well as the recent Global Shinkai Day over at Crunchyroll.

Brief History of Fan Animation

Ever since I first started talking about anime on panels at conventions (or just telling people about it in academia), I’ve always shown the famous Gainax productions, Daicon III and Daicon IV. These short animated works were exhibited at the annual Japanese Science Fiction Convention in 1981 and 1983, respectively.


Daicon III, 1981


Daicon IV, 1983

Each video was drawn by hand by a group of friends that would later form the animation studio, Gainax. In other words, real production studios did not produce the shorts, but fans of anime who took their creative capacity to a new level. Not only did these fans produce an entirely novel creation, but they pulled from popular interests of the fandom (the fandom at that time centered in global [and highly American] science fiction and Japanese animation) and created homages in celebration of the medium (a good example for American fans is the reference to Star Wars, which is evident in Darth Vader’s appearance in Daicon IV).

Eventually the Daicon animations influenced fans on such a global scale that this genre of “opening animation” spread to American conventions. In 1992, at Anime Expo in California (one of the earliest occurrences, though of course not the first, of anime conventions in the United States), a few fans at Running Ink Animation Productions produced the fifteen-minute Bayscape 2042.

At Anime Expo 1993, the same fans exhibited another hand-drawn, cel-to-film, short animation called Conscience.

Conscience begins with an artistic tip-of-the-hat to the entire history of space-based mecha series, with a scan of space debris followed by distant explosions and a parade of originally-designed fighter ships. The story progresses to a narrative following a young woman on the surface of a planet and her discovery of a princely man and her own fighter pilot, with which she joins the war in the sky above. Like the Daicon series, Conscience pays homage to a American history of fan interest in Japanese animation. For instance, although a bit feeble, the artists attempt an quick imitation of the classic Itano Circus about halfway through the short.

YouTube currently hosts a few other fan-created opening animations, such as that of AmeCon 2007, which was a digital production by Hel & Scott of the Makenai Team.

In contrast to the previously-mentioned shorts, the AmeCon opening animation follows the form of an anime episode, rather than adhering to what appears to be a trend of Anime Music Video-styled animations. An apparent reason might be that the video, exhibited in 2007, reflects the influences of a generation of fans immersed in a completely different fan culture: one generally removed from science fiction and the quest to obtain any importations of anime from Japan, and one now steeped in a viewership familiar with anime usually broadcast on television and conventions as a common phenomenon across the nation.

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Reflections on Anime: Animation and the Academy

On 22 February 2009, the Academy (of Motion Picture Arts & Sciences) held its eighty-first celebration of film, generally known as the Oscars. This year resulted in a big win for Japan, who clinched the prize for best Foreign Language Film with おくりびと (Departures), directed by Yojiro Takita. Why is this win important? If you read through the award’s webpage, you’ll see that a Japanese film has previously been nominated for the award twelve times since 1956 without a single victory. So, よく頑張った, Japan!

But I want to talk about animation. In Japan, アニメーション (animation) has been abbreviated, in that Japanese way of abbreviating most long foreign words, to アニメ (anime), and the abbreviation covers every sort of animated design imaginable, from flip books to what American and global fans commonly refer to as the Japanese anime style. The fan following and global exportation of Japanese animation created anime as a visual style, one part of the grand scheme that is アニメ in Japan. Basically, アニメーション is a style/genre of film, while アニメ is a style/genre of animation.

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