{"id":309,"date":"2023-04-07T22:06:08","date_gmt":"2023-04-08T05:06:08","guid":{"rendered":"https:\/\/blogs.ubc.ca\/austinuzama\/?page_id=309"},"modified":"2023-04-07T22:06:08","modified_gmt":"2023-04-08T05:06:08","slug":"course-syllabus","status":"publish","type":"page","link":"https:\/\/blogs.ubc.ca\/austinuzama\/course-syllabus\/","title":{"rendered":"Course Syllabus"},"content":{"rendered":"

\u00a0<\/b>Course Syllabus for teaching Japanese Animae<\/em>\u00a0<\/strong><\/p>\n

Course Name: Japanese Anime and Modern Culture<\/p>\n

Course Code: 101<\/p>\n

Instructor Name: Austin Uzama<\/p>\n

Instructor Contact & Office hours:\u00a0 \u00a0 \u00a0(Monday & Tuesday 3-4pm)<\/p>\n

COURSE DESCRIPTION<\/h3>\n

In Japan, television animations (whether Japanese or other) are called anime. Manga and anime are perhaps Japan’s biggest cultural export, and they make up one of the most recognizable art styles of the country. In Japan, anime is not just culture for kids. Rather, anime series like Neon Genesis Evangelion, Attack on Titan, Death Note, and Cowboy Bebop were all hugely successful amongst adults too. Indeed, many of these series were intended for adults developing complex themes and plotlines and presenting three-dimensional and realistic characters. How can\u00a0\u00a0 we understand anime\u2019s global popularity in North America? What does that popularity mean for Japan, Asia, and the world at large? Using primarily English sources, this course will explore the development of the study of anime from its rise in the late 1990s to the present day. We will examine how its analytical approach has been enriched, starting from the traditional text-interpretation of anime visuals to the contemporary ethnography of cutting-edge anime production studios in Tokyo.<\/p>\n

OBJECTIVES<\/h3>\n

This course will explore a variety of dimensions of anime so that students can understand the development of the key concepts within scholarly debates about anime.<\/p>\n

On successful completion of this course, students will be able to:<\/p>\n

    \n
  • provide key intellectual perspectives on anime;<\/li>\n
  • critically analyze the scholarly debates on anime; and<\/li>\n
  • discuss the implications of anime\u2019s impact on Japan, Asia, and the world at<\/li>\n
  • Understand the reason(s) why anime is part of Japanese culture<\/li>\n
  • Understand the economic value of anime to the Japanese economy<\/li>\n<\/ul>\n

    METHOD OF EVALUATION<\/h3>\n
      \n
    • Class Contribution (e.g. reading preparation, participation in discussions): 20%<\/li>\n
    • Presentation: 30%<\/li>\n
    • Attendance: 20%<\/li>\n
    • Final paper: 30%<\/li>\n<\/ul>\n

      COURSE PLAN AND READING LIST<\/h3>\n

      \u00a0<\/strong>Week 1: Introduction<\/u><\/strong><\/p>\n

      \u00a0Question<\/strong>: What is anime? It\u2019s history, understanding the rationale for anime\u2019s global popularity, and what does it mean for Japan, Asia, and the world at large?<\/p>\n

      Suggested Reading<\/h4>\n
        \n
      • Denison, 2015. Anime: A Critical Introduction<\/em>. London: Bloomsbury. Pp. 1\u201329 (Ch. 1: Introduction and Ch. 2: Approaching anime: Genre and subgenres).<\/li>\n<\/ul>\n

        Week 2:<\/u><\/strong> Anime<\/u><\/strong> as<\/u><\/strong> Artworks<\/u><\/strong><\/p>\n

        \u00a0Question: <\/strong>How to evaluate anime artistic value?\u00a0 <\/strong>Do you agree or disagree with Napier (2001)?<\/p>\n

        Core Reading<\/h4>\n
          \n
        • Napier, 2001. Anime: From Akira to Princess Mononoke<\/em>. New York, NY: Palgrave. Pp. 3\u201314, 27\u201334 (Ch. 1: Why anime? and Ch. 2: Section \u2018Anime and Japanese cultural identity\u2019).<\/li>\n<\/ul>\n

          Suggested Reading<\/h4>\n
            \n
          • Napier, 2001. Anime: From Akira to Princess Mononoke<\/em>. New York, NY: Palgrave.<\/li>\n
          • Murakami, 2000. Superflat<\/em>. Tokyo: Madra Publishing<\/li>\n<\/ul>\n

            Week<\/u><\/strong> 3: Asia & Anime<\/u><\/strong><\/p>\n

            \u00a0Question: <\/strong>Who disagree with Napier\u2019s (2007) argument regarding anime?<\/p>\n

            Core Reading<\/h4>\n
              \n
            • Napier, 2007. From Impressionism to Anime: Japan as Fantasy and Fan Cult in the Mind of the West<\/em>. New York, NY: Palgrave. Suggested Reading<\/li>\n
            • Morley, David, and Kevin 1995. Spaces of Identity: Global Media, Electronic Landscapes and Cultural Boundaries<\/em>. London: Routledge. Pp. 147\u2013173<\/li>\n
            • Roh, David, Betsy Huang and Greta 2015. Technologizing Orientalism: An introduction. In Techno-Orientalism: Imagining Asia in Speculative Fiction, History and Media<\/em>. David Roh, Betsy Huang and Greta Niu eds. Pp. 1-19. New Brunswick, NJ: Rutgers University Press.<\/li>\n<\/ul>\n

              Week 4: Anime as Media<\/u><\/strong><\/p>\n

              \u00a0Question<\/strong>: Critically assess Steinberg\u2019s (2009) argument regarding \u2018anytime, anywhere\u2019 features of anime\u2019s media mix.<\/p>\n

              Core Reading<\/h4>\n
                \n
              • Steinberg, 2009. Anytime, anywhere: Tetsuwan Atomu <\/em>stickers and the emergence of character merchandizing. Theory, Culture & Society <\/em>26(2\u20133): 113\u2013138.<\/li>\n<\/ul>\n

                Suggested Reading<\/h4>\n
                  \n
                • Allison, 2006. Millennial<\/em> Monsters:<\/em> Japanese<\/em> Toys<\/em> and the Global Imagination<\/em>. Berkeley, CA: University of California Press. Pp. 1\u201334 (Ch. 1: Enchanted commodities).<\/li>\n
                • \u014ctsuka, 2010. World and variation: The reproduction and consumption of narrative. Mechademia <\/em>5: 99\u2013116.<\/li>\n<\/ul>\n

                  Week<\/u><\/strong> 5: Labour and Cultural Production of Anime<\/u><\/strong><\/p>\n

                  Question<\/strong>: Outline the current working conditions of workers in the anime industry and discuss how they can be improved.<\/p>\n

                  Core Reading<\/h4>\n
                    \n
                  • Morisawa, 2015. Managing the unmanageable: Emotional labour and creative hierarchy in the Japanese animation industry. Ethnography <\/em>16(2): 262\u2013284.<\/li>\n<\/ul>\n

                    Suggested Reading<\/h4>\n
                      \n
                    • Condry, 2009. Anime creativity: Characters and premises in the quest for Cool Japan. Theory, Culture & Society <\/em>26(2\u20133): 139\u2013163.<\/li>\n
                    • Hanzawa, 2019. Geographical dynamics of the Japanese animation industry. Netcom <\/em>33(3\/4).<\/li>\n<\/ul>\n

                      Week<\/u><\/strong> 6:<\/u><\/strong> Distributing Anime<\/u><\/strong><\/p>\n

                      \u00a0Question<\/strong>: Will global media platforms such as Netflix be the saviour of the anime industry?<\/p>\n

                      Core Reading<\/h4>\n
                        \n
                      • Mihara, 2020. Involution: A perspective for understanding Japanese animation\u2019s domestic business in a global context. Japan Forum <\/em>32(1): 102\u2013125.<\/li>\n<\/ul>\n

                        Suggested Reading<\/h4>\n
                          \n
                        • Denison, Rayna. 2018. Anime\u2019s distribution worlds: Formal and information distribution in the analogue and digital eras. In Routledge Handbook of Japanese Media<\/em>. Fabienne Darling-Wolf Pp. 403\u2013418. London: Routledge.<\/li>\n
                        • Clements, Jonathan. 2018. Anime: A History<\/em>. London: The British Film Institute. Pp. 177\u2013190 (Ch. 9: The Pok\u00e9mon shock: Anime goes global 1984\u201397, 1997\u20132006).<\/li>\n
                        • Steinberg, Marc. 2020. Delivering media: The convenience store as media mix hub. In Point of Sale: Analyzing Media Retail<\/em>. Daniel Herbert and Derek Johnson Pp. 239\u2013255. New Brunswick, NJ: Rutgers University Press.<\/li>\n<\/ul>\n

                          Week<\/u><\/strong> 7:<\/u><\/strong> Anime<\/u><\/strong> Fandom<\/u><\/strong><\/p>\n

                          Question: <\/strong>Is otaku <\/em>(an anime fan) a reformer or an enemy of society?<\/p>\n

                          Core Reading<\/h4>\n
                            \n
                          • Galbraith, 2019. Otaku: And the Struggle for Imagination in Japan<\/em>. Durham, NC: Duke University Press. Pp. 1\u201319 (Introduction: \u201cOtaku\u201d and the struggle for imagination in Japan).<\/li>\n<\/ul>\n

                            Suggested Reading<\/h4>\n
                              \n
                            • Ito, 2012. Introduction. In Fandom Unbound: Otaku Culture in a Connected World<\/em>.<\/li>\n<\/ul>\n

                              Mizuko Ito, Daisuke Okabe and Izumi Tsuji eds. Pp. xi\u2013xxxi. New Haven, CT: Yale University Press.<\/p>\n

                                \n
                              • Lamarre, Thomas. 2006. Otaku <\/em> In Japan after Japan: Social and Cultural Life from the Recessionary 1990s to the Present<\/em>. Tomiko Yoda and Harry Harootunian eds. Pp. 358\u2013394. Durham, NC: Duke University Press.<\/li>\n
                              • Kinsella, 1998. Japanese subculture in the 1990s: Otaku and the amateur manga movement. Journal of Japanese Studies <\/em>24(2): 289\u2013316.<\/li>\n
                              • Galbraith, 2019. Otaku: And the Struggle for Imagination in Japan<\/em>. Durham, NC: Duke University Press. Pp. 49\u201375 (Ch. 2: \u201cOtaku\u201d research and reality problems).<\/li>\n<\/ul>\n

                                Week<\/u><\/strong> 8:<\/u><\/strong> Anime <\/u><\/strong>and Copyright<\/u><\/strong><\/p>\n

                                Question: <\/strong>Do you agree with Condy\u2019s (2013) argument that fansub is (somewhat) acceptable?<\/p>\n

                                Core Reading<\/h4>\n
                                  \n
                                • Condry, 2013. The<\/em> Soul<\/em> of<\/em> Anime:<\/em> Collaborative<\/em> Creativity and Japan\u2019s Media Success Story<\/em>. Durham, NC: Duke University Press. Pp. 161\u2013184 (Ch. 6: Dark Energy: What Overseas Fans Reveal about the Copyright Wars).<\/li>\n<\/ul>\n

                                  Suggested Reading<\/h4>\n
                                    \n
                                  • Leonard, 2005. Progress against the law: Anime and fandom, with the key to the globalization of culture. International Journal of Cultural Studies <\/em>8(3): 281\u2013305.<\/li>\n
                                  • Ito, Mizuko. 2012. Contributors versus leechers: Fansubbing ethics and a hybrid public culture. In Fandom Unbound: Otaku Culture in a Connected World<\/em>. Mizuko Ito, Daisuke Okabe and Izumi Tsuji eds. 179-204. New Haven, CT: Yale University Press.<\/li>\n
                                  • He, Tianxiang. 2014. What can we learn from Japanese anime industries? The differences between domestic and overseas copyright protection strategies towards fan The American Journal of Comparative Law <\/em>62(4): 1009\u20131042.<\/li>\n<\/ul>\n

                                    Week<\/u><\/strong> 9: Anime Policy<\/u><\/strong><\/p>\n

                                    \u00a0Question: <\/strong>Do you think government policy can help anime?<\/p>\n

                                    Core Reading<\/h4>\n