Japanese Animation: East Asian Perspectives

Cover
Contents
A Note to the Reader
Acknowledgments
Introduction
	Frameworks of Teaching and Researching Japanese Animation
	Some Thoughts on the Research Essays and Commentary
Section One: Animation Studies and Animation History in Japan
	A Bipolar Approach to Understanding the History of Japanese Animation
	Reflections on the Wan Brothers’ Letter to Japan: The Making of Princess Iron Fan
	On the Establishment and the History of the Japan Society for Animation Studies
	More on the History of the Japan Society for Animation Studies: Historic Essentials of Animation Studies
Section Two: Pioneers of Japanese Animation
	Chiyogami, Cartoon, Silhouette: The Transitions of Ōfuji Noburō
	The Japanese Walt Disney: Masaoka Kenzo
	Animating for “Whom” in the Aftermath of a World War
Section Three: Popular Culture, East-West Expressions, and Tezuka Osamu
	Tezuka and Takarazuka: Intertwined Roots of Japanese Popular Culture
	Growing Up with Astro Boy and Mazinger Z: Industrialization, “High-Tech World,” and Japanese Animation in the Art and Culture of South Korea
	From Haiku and Handscroll to Tezuka: Refocusing Space and Camera in the Narrative of Animation
Section Four: Female Characters and Transnational Identities
	Grotesque Cuteness of Shōjo: Representations of Goth-Loli in Japanese Contemporary TV Anime
	Animated Interracial Romantic Fantasies: Japanese Male and Non-Japanese Female Characters
Section Five: Artistic Animation and Expression in Japan
	3-D Computer Graphics: Creating and Teaching Professional Animated Techniques in Innocence and Doraemon
	Animation and Psychology: The Midlife Crisis of Kawamoto Kihachiro
Section Six: Japan’s First Commercial Animation Studio after the Second World War: Toei
	The Background of the Making of Flying Phantom Ship—Hiroshi Ikeda
Appendix 1
Appendix 2
Appendix 3
List of Contributors
Index
	A
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