Post Anime Expo: Bringing Home the Spoils

This article might also be subtitled, Is there a future for anime & manga in dealer’s rooms?

Anime Expo was awesome, hands down. If I have panels accepted next year, I will make an effort to return, definitely. And there are many critical comments I can make about Anime Expo, such as the relationship between industry and fans, or the large size of the convention as justification for its importance (though in my opinion it shouldn’t have to be). Today, I’m going to focus on the Anime Expo dealers’ room.

Anime Expo’s dealers’ room is gigantic. If you’ve ever been limited to East Coast conventions, I would estimate its size to be slightly bigger than that of Otakon. For illustration, it took me a half-hour to browse through one-third of the floor, and I only stopped at two booths for a maximum of three minutes each.

Continue reading

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.

YouTube, Fansubs, and a Conflict of Copyright

[This article has been cross-posted to YouTomb.]

Fansubs: fan-produced subtitles added to original footage of foreign television programs or films.

Most commonly a practice by fans of Japanese animation, fansubs have, since the 1980s in America, allowed fans of anime to view the Japanese-language media and share it amongst friends. While technically illegal [1] in terms of copyright law, fansubbing in the Internet age has proliferated to a point that 1) fans rely on fansubbing groups to keep up with the latest series, and 2) the animation industry has felt the need to form a conversation around protecting their intellectual property [2]. By the end of 2008, the demand for English-language fansubs reached such a critical point that major Japanese animation companies teamed up with the (previously illegal) Crunchyroll.com to distribute fansubs streaming online in a timely manner (read: one hour after television broadcast in Japan) for a fee or after a longer period (one week) for free [3].

In the summer of 2008, I traveled down to Baltimore, MD for Otakon, the largest East-coast anime convention, and attended the Fansubber & Industry Discussion panel (viewable online [4]). After the panel ended, I snagged Interactii, one of the members of the popular fansubbing group Dattebayo Fansubs, LLC [5], for a quarter-hour to ask a few questions, reprinted below:

Continue reading