Looking at Napier and Cavallaro (2006), discuss how anime is culturally ‘located’ – in the East or West, or somewhere else?

To delve into an encompassing definition for the organizational nature of anime is not, in procession, comparatively difficult.

Yet, to subtly pinpoint its contextual cultural location of Anime, is a difficult ground to define.

For, we must see in terms of, origins, identity, intellectual analysis, fandom through formal realizing of the and location of its popularity.

In all appearances, it appears that it is managed through origins its creation in japan a significant vehicle, style, and content of modernized  “Japanese culture”.

To recharacterize its origins is considered by being a concept audience  from  “The East“, Indeed, the question remains. Where is its cultural position of Anime? Where is it today?

The direction and subsistence of axis to where such culture is in localisation: where it exists, resides, is interpreted from and further continually manifested.

To this, I argue the cultural location of ideological recognition exists more in the position in the etherealities of a subspace. the location is not to deified cultural tradition or in a geographical sense: in the globalized landscape of its enthused audiences.

Anime as a popular contextual medium by those who (in terms of culture, exported exposition, and said intellectualized ownership) are defined by demographics directly about the set of perceptions held by members of its audience.

The cultural location is found through the definition of its operating fanbase and audience.

Yet yes, an argument exists whereas to – The conclusions the culture is consumed in “The West” reality,  as perused and enjoyed by the most vocal part of an audience is but a social truism.

Indeed, herein is a evoacated notion and a postulated of inherent preconceived privilege.

Anime (as an international cultural phenomenon, and an extension of Manga) was first and foremost has always been a cultural phenomenon grounded within the varying popular subcultures of Japan.

Although  (exampled by the iconic works of Osamu Tezuka notably Astro Boy (Tezuka, 1963) , or to refer or relate its export to the west during Katsuhiro Otomo Akira  (Otomo, 1988)

From these perceptions, from the experienced bizarrity and othering of exposition divined from its origins “The East”( in this case, Japan)  it has been accepted into mainstream culture, Accpeted as apopularized in society is considered socially assimilated by western audiences, in a studied and fascinatingly ornate and homogenized manner.

The fanbase we find represented and appreciate popularly mass-manufactured productual narrative content of capitalism driven delivery to the hungry markets of  “The West” (The U.S. I hold in contention as the most advertised vocal and central audience, and the consumption ) Anime is uniquely both and neither, ‘Western’ and “Eastern/oriental” cultural locality at the same.

The cultural locality of anime is beyond physical definition:  there exists no tradition of ideas when one discusses and analyses the distinction of the accession of a culture of the cultist like fanbase.

A conceptuality where we find no inherent distinction of nationality, gender, ethnicity, yet subscribership of professed fanaticism of fandom towards different renditions of titles and the medium and phenomena of anime in general.

Susan Napier consider one such anime directors the iconic and ineffable Hayao Miyazaki (founder and head figure of the now reverently widely known, famous Studio Ghibli) indeed had some influences from origins of Western literature, specifically European stylizations “A treasure trove of children’s authors”  – (Miyazaki 1995a, p 118) (Cavallaro, 2006)

In which I continue to delineate the argument that Anime, although greatly influenced by narratives from “The West”, has in turn influenced Japanese Anime, in turn, exported back to audiences of The West.

Its cultural locality exists in the appreciated through experiences of a borderless, globalized phenomenon.

The current identity related to origination cannot be defined from the perspectives of locality is not “ownership”.

Through the contextual landscapes in terms of transgeography, we must see mediums as they are and not through generalized topography of tropes.

A cultural phenomenon exists in today’s world to appreciate and respect and not to the market which is most popularly accessed from.

Bibliography

Cavallaro, D. (2006). The Anime Art of Hayao. London: McFarland & Company.

Otomo, K. (Director). (1988). Akira [Motion Picture].

Tezuka, O. (Director). (1963). Astro Boy [Motion Picture].