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- 1. DJ Ian C (J hip-hop) 6/22 (Mon) 10pm ~ @Bonobo (DJ bar) bonobo.jp (Jingumae)
- 2. The Soul of Anime: Collaborative Creativity and Media Success IAN CONDRY Global Studies and Languages Illustration: Brian Chan
- 3. Soul of Anime (2013) Read Intro free on Scribd.coJapanese translation by Tetsuro Shimauchi 2014 (NTT)
- 4. 4 Neon Genesis Evangelion (1995)
- 5. Two robots question their identity Ghost in the Shell (manga) Masamune (1991)
- 6. 1911 Little Nemo Winsor McCay “The first artist to attempt drawing pictures that will move.” 6
- 7. 7
- 8. 8
- 9. 9
- 10. 10
- 11. 11
- 12. 12
- 13. Collaborative creativity 13 Summer Wars (2009, Dir. Hosoda)
- 14. • 30-40% jobs today are new; did not exist one generation ago (30 years ago) • Piketty (2013) Capital in 21c. • now, capitalism is producing greater inequality • Economists measure value when money is exchanged • Anthropologists recognize social value through fieldwork • social value generates economic value • collaborative creativity = new kinds of jobs • useful goal? study social foundation of jobs & value Jobs, value & the future 14
- 15. 将来の資本主義 ゾンビーか、サイボーグか future capitalism: zombie or cyborg ? cyborg: network symbiosis サイボーグ ネットワーク共生 zombie: the past devours the future ゾンビー 過去が将来を食う images: Kirishima; Ghost in the Shell
- 16. Anime Success• 60% of world’s TV cartoon broadcasts are Japanese in origin (JETRO, 2004) • $2B / yr: TV, theater, DVD • $19B / yr merchandise • 60% of anime is based on successful manga • fan “cons” / production • manga-anime-toys-fans Pokemon: The First Movie (1998) Highest grossing anime in US $86M box office ($164M worldwide) Source: Box Office Mojo
- 18. Spirited Away (2001, Dir. Miyazaki)
- 19. Spirited Away (2001, Dir. Miyazaki)
- 20. Spirited Away (2001, Dir. Miyazaki
- 21. My Neighbor Totoro (1988, Dir. Miyazaki
- 22. Ghost in the Shell (1995, Dir. Oshii) Akira (1988, Dir. Otomo)
- 24. Spirited Away (2001, Dir. Miyazaki
- 26. Key frame animator (genga man), Toei Animation, July 2006
- 27. Source: Media Dev't Research Institute Inc. www.mdri.com accessed 11-09
- 29. Sayonara Zetsubô Sensei, Ep. 1 (2007) a.f.k fansubs
- 32. Sayonara Zetsubô Sensei (2007) Episode 4
- 33. Duke University Press 2006 Japanese translation Nihon no Hip-Hop NTT Publications 2009
- 36. Umedy at Gig-Antic in Shibuya (Tokyo, 2/97)
- 37. David Graeber (2011) “Debt: The First 5000 Years” • “ . . . all social systems, even economic systems like capitalism, have always been built upon a bedrock of actually-existing communism” (p. 95) • Example: – X: “Can I borrow a pen?” – Y: “Sure, for a dollar.” – X: “Loser.” 37
- 38. Anthropology and value • David Graeber (2001) Toward an Anthropological Theory of Value – " . . . look at social systems as structures of creative action, and value, as how people measure the importance of their own actions within such structures" (p. 230) – 社会構造＝クリエティヴアクション構造 – 価値＝自分で計るアクションの重要性 value = that which has soul
- 39. Value of aging (for college students) Awesome Suck Age
- 40. Value of aging (for middle-age professor) Wisdom Sucker Age
- 43. The social in media • Media as content (message) – boundary between producer / fan – published, packaged, consumed • books, DVDs, CDs, etc. – propaganda, access to broadcast • Media as platform (social) – participatory spaces – communities of shared interests – crowd-sourced production • blogs, Facebook, Twitter, Nico Nico Dôga, YouTube, 2 Channel, Wikipedia, etc. • value, exchange, production 43
- 44. Gonzo studios entryway (Shinjuku) Collaborative Creativity in the Studios
- 45. Red Garden staff at script meeting, 8/06 (Gonzo)
- 46. 2006, Gonzo (Dir. Matsuo)
- 48. Red Garden director Matsuo drawing storyboards, 8/06 (Gonzo)
- 49. Animation director (sakkan) Red Garden (Gonzo, 8/07)
- 50. Red Garden character design woman's desk, 8/07 (Gonzo)
- 51. Red Garden work area, 8/07 (Gonzo)
- 54. Studio 4ºC. Tekkon Kinkreet art director's desk, 9/07
- 58. Gonzo studios Red Garden cut folders, 8/07
- 59. characters & worlds as "generative platform" • characters –キャラクター –kyarakutaa • world –世界観 –sekaikan • story comes later – シナリオ (shinario) Mighty Atom aka Astro Boy
- 60. 60 Vocaloid 2 CV01 (character vocal series) Hatsune Miku
- 61. Vocaloid, voice synthesizer software (lyrics & melody) 61
- 63. 63
- 64. layers of participation Top Miku Video: 10 million views Nov. 2012 cloud of comments Nico Nico Dôga ニコニコ動画
- 65. 65
- 68. 68 Oct. 2012
- 69. 69BuzzFeed October 9, 2014 Huffington Post, October 8, 2014
- 73. Miku Miku Dance free software for 3D video making 73
- 74. 74 “Chaining Intention” video by Masataka P
- 75. 75
- 76. 76
- 77. 77
- 78. 78
- 79. 79 Hachioji P, first major album
- 80. David Graeber (2011) Debt categories of exchange • communism • from each (ability), to each (needs) • “bedrock” of social life & fun • reciprocal exchange • compliments, favors, rounds of drinks • market --> payment ends obligation • hierarchy • extortion by gangsters, kings, parents, dissertation advisors 80 Graeber (2011) Debt: The First 5000 Years see also “Exchange” in Critical Terms in Media Studies
- 81. PiaPro (“peer production”) 81 Video describes licensing issues http://piapro.jp/intro/ “Of course, Miku illustrations are copyrighted under Crypton Future Media.”
- 82. Crypton Future Media: 3 licensing scenarios 1. non-commercial, no recompense covered by Piapro Character License (PCL) –> freely use images, make goods, w/o asking 82
- 83. 2. non-profit, but some recompense if recoup only costs of materials --> submit application through PiaProLink, receive QR code 83 Crypton Future Media http://piapro.jp/intro/
- 84. 3. commercial, for profit negotiate a contract with Crypton, pay license fees; “This income to support CGM” (consumer generated media). 8432 Crypton Future Media http://piapro.jp/intro/
- 85. Kagerô Days (“Mirage Days”) 2014 • song on Nico Nico Dôga by Jin • video reinterpreted by fan • light (young adult) novel by Jin • manga by another artist • now official TV anime is in production • seemingly new origin for a character and story, but how different from Disney fairy tale? 85
- 86. AMV = Anime Music Video • AnimeMusicVideo.org – 150,000+ videos posted (Nov. ’12) – No permission from anime company – No permission from music artist
- 87. Fansub ethics: "non-commercial" "Free fansub, not for sale, rent or eBay" "Please terminate distribution after licensing" fansubs The Melancholy of Haruhi Suzumiya (2006) a.f.k fansubs
- 88. Cosfest V (Singapore, 7-06) http://animedesho.animeblogger.net/?p=194 cosplay
- 89. Comic Market 89 Big Site, Odaiba, Tokyo, Japan
- 90. Comic Market Ethnograpy - Shichijo (2010) 同人作品を制作の理由 七邊信重（２０１０）「同人会」 “Why do you produce fan-made works?” Shichijo (2010) “Dôjinkai no ronri” (the logic of the dôjin world) • 作品を作ることそれ自体が楽しいから ４９．８％ –Because making works itself is fun • 作品を人に見てもらえることが楽しい ２７ ．１％ –Because it’s fun to have others see my works • 主張や伝えたいメッセージがあるから ８．１％ –Because I have a message or something to emphasize • 作品をきっかけに友人やファンを増やす ７．０％ –Because it’s a chance to increase my number of friends or fans • アート活動、表現活動として ５．３％ –As a kind of art activity, or as form of expression • 作品を販売することで収入を得るため ０．８％ –To make money by selling my works • その他 (other) １．９％ 七邊信重（２０１０）「同人会の論理：行為者の利害、関心と資本の変換」コンテン ツ文化史研究、第３号、p。２３ −− in Contents Bunkashi Kenkyû, Vol. 3, p. 23
- 91. 91 Neon Genesis Evangelion (1995)
- 92. Two robots question their identity Ghost in the Shell (manga) Masamune (1991)
- 93. for more info iancondry.com condry@mit.edu wallpaper from Samurai Champloo official website Soul of Anime on Scribd.com: http://www.scribd.com/doc/117380368/The-Soul-of-Anime-by-Ian-Condry
- 95. manga, anime, toys - collaboration Mazinger Z, Gô Nagai (manga) “super alloy” toys anime
- 96. "The ultra-alloy everyone's talking about." "Uwasa no chôgôkin."
- 98. Gundam (1979) fails at first revival depended on fan activity • series canceled early (toys don’t sell) • Bandai licenses plastic model rights • Fans revive series –build models –create fan clubs –write encyclopedias & timelines –fan magazines develop • Social dynamics lead to success 98 toys are media too
- 99. Gun Pla
- 102. Red Garden (2006, Dir. Matsuo) Ep. 1
- 103. Participation in what? • Less exploitative if . . . • transparent –how will my work be used? –how will my data be used? • opt in –I can choose the terms –I can opt out if desired –monetization or not • credit where credit is due –remix, retweet w/ name –use of data gets credit . . . ? 103 Images from Deviant Art
- 104. Graeber (2011) “Debt” • We are all communists with our closest friends, • and feudal lords when dealing with small children. • It is very hard to imagine a society where people wouldn't be both. • [But] if we are all ordinarily moving back and forth between completely different systems of moral accounting, why hasn't anybody noticed this? • Why do we reframe everything in terms of reciprocity? • [Because] reciprocity is our main way of imagining justice. • We fall back on reciprocity when we're thinking in the abstract, and especially when we're trying to create an idealized picture of society. (pp. 113-114) 104
- 105. Director Mamoru Hosoda (2012) w/ Producer Yuichiro Saito Studio Chizu
- 106. Wolf Children (2012) US Release November 2013 from Funimation
- 107. Studio Chizu, June 2012
- 109. Studio 4C CEO Eiko Tanaka Director Michael Arias
- 110. the gutter Scott McLoud (1993) Understanding Comics”
- 112. Income Ineqality in USA 112 Source: Congressional Budget Office
- 113. 113 Norton; Ariely (2012) in Perspectives on Psychological Science Americans don’t understand current economic inequality
- 114. Thomas Piketty (2013): # of billionaires, 1987-2013 tenfold increase, from 140 to 1400 114http://piketty.pse.ens.fr/files/capital21c/en/pdf/F12.1.pdf
- 115. Thomas Piketty (2013) Capital in the 21st Century 115
- 116. 116 Twitch Plays Pokemon, March 2014
- 117. Henry Jenkins, Nick Couldry (2014) “Participations” • Nick Couldry: • positive social and political potential • OR • new forms of labor exploitation ... ? • Henry Jenkins: • Core question: “Participation” in what? • International Journal of
Editor's Notes
- What comes after the industrial revolution? Can we find inspiration in media for alternative forms of org’n/production? environment? technology? Related to question of “why is anime a success?” -- I want to suggest it’s not just a question of “what is it about the object of anime?” but rather “who makes it successful?” -- most people begin with “what is anime?” but I start with “who makes anime?” Which raises the question, who made animation first? What is it about anime that makes it so successful? (as an object) - commercial, aesthetic who makes anime successful?
- Karl Marx critique of capitalism: power to those who control means of production, but who controls today? no longer clear who is a “producer” and who is a “consumer”
- Ridicule. Disbelief. Teasing.
- turn outwards from media, to look at the social -- the social energy is part of the platform -- what does it coalesce around -- “the character” -- “the world” -- Occupy / 99% -- how understand the potential for collaborative problem solving, trouble-making, broader as yet unimagined forms of social change? WHO MAKES ANIME? Ethnography to make central the roles of anime creators, but also the roles of manga artists, sponsors, merchandisers, and fans as part of wider processes of production. collaborative creativity aims to bring into focus the multiplicity of modes of production, and what exactly collaboration means. Who is collaborating with whom? Who “owns” the results of collaboration? Whose creativity is valued, whose is recognized and within which spheres?
- a couple of metaphors to get us thinking comparatively
- critical successes, but also commercial successes why Japan?
- plus for teens and up i got into this through my students: why are you taking my class? AND, Hip-Hop Japan - Prof. you gotta check out samurai champloo: samurai reimagined as hip-hop how? it’s not released yet? We’ve gotta show you fansubs and BitTorrent
- plan: learn the secret of anime’s success, package as business model, get rich as a consultant . . . but when I started looking at anime, quickly learned: no one gets rich making anime (even Disney) But this raises an even more interesting Q: how did anime go global w/o making money
- So we can measure the anime market in terms of TV advertising, cinema box office, DVD sales, online streaming fees, but we end up capturing only a small fraction of anime's influence: As Ted Bestor points out in his study of Tsukiji, "the fish market at the center of the world," the values that anime a living, breathing marketplace, are more than financial: Japanese market for anime 2002 films, TV, OVA market = US$1.9 billion incl. licensed goods --> market = US$18 billion 60% of all cartoons broadcast worldwide are Japanese in origin (METI, est. Jan. 2004) content industries and copyright-related businesses extend economy and “soft power”
- anime that crit Japan and others values complex He is a character who despairs at the various media phenomenon ravaging Japan: email harrassment, the "shut in" youth known as hikikomori, and issues of domestic violence.
- For example, this anime, more or less in the "gag" genre, hinges on a variety of puns, The teacher's name is "Itoshiki Nozomu" which can be read also as "Despair."
- This anime "Sayonara Zetsubo Sensei" (or, "Goodbye Mr. Despair") illustrates the lengths to which fansubbers will go to provide detailed translations. Note: ¥10,000 = $100 ¥50 = 50 cents Here he endeavors to encourage his students to recognize their own value, and live accordingly, without being obsessed by external, and arbitrary measures of success. Let's watch a brief clip.
- This is what he gets.
- in other words, the value here is measured not by what others are willing to pay, but in terms of what fans are willing to give up despite the weight of economic ways of thinking, we recognize this value in our daily lives we value people who are generous, good at what they do, committed to a larger vision defined by things other than simply material gain when we talk about value, we want to acknowledge the broader meanings of value As Ted Bestor points out in "Tsukiji" -- business relations are at once social relations, and they cannot be easily untangled. So if fansubbers work partly for the art of what they do -- speed, accuracy, depth -- what about the labor of the producers? how do they understand the value of anime? what lead to its emergence as a style and a business?
- my book then explores the performative aspects of hip-hop in Japan, examining the permutations of race, langauge, gender, fandom, and the recording industry through an ethnographic method that attempts to capture the nuances of different locations of power, that is, where culture, social relations, and politics are made and remade.
- To conclude, music is again leading the way in the evolution of digital media in several ways: With the decline of package businesses and rise of SOCIAL MEDIA we see a resurgence of interest in LIVE CULTURE / PERFORMANCE An expansion of media mix possibilities A renewed interest in PARTICIPATION
- industry as a frame - production and exchange - economic rationality works well with “media as packaged content” (torn from context) but media as a platform hinges on understanding dynamics of the “social” in social media
- shiny and futuristic facade
- 6 people in house, freelance animators (key frame) in Tokyo, in-between in South Korea, Philippines and China
- "Story" often thought of as what makes anime different Fans talk of "story arcs" Anime books describe narrative strategies, but in the studios, while stories are deemed crucial, it is rather the characters, premises and worldview early anime successes build on energy of fans towards characters already popular in manga
- Hatsune Miku is an interesting example of collaborative creativity in music. The character is based on music and vocal synthesizer software called “Vocaloid” Created by Crypton, based in Sapporo, the character has a look and some characteristics Age: 16, height and weight But company allowed openness in use of character image, and explosion of fan activity
- Hatsune Miku and Nico Nico Doga are examples of contemporary media style Not just content, but platform for participation Also, Facebook, MySpace, Twitter, Four Square, etc. etc. This world of “social media” shows how collaborative creativity can arise from performance spaces as something larger than clubs And facilitated by online sharing. And now, going global as well . . .
- Video clip 1 minute, 21 seconds From: http://www.youtube.com/watch?v=DTXO7KGHtjI (accessed 11/25/10)
- CNN recently covered a live show featuring a holographic image of Hatsune Miku Performing before thousands of people
- Now SEGA has made an arcade game, And there is are two SEGA games for the PSP. But more interesting than the big company versions of Hatsune Miku Are the many, many fan products. On 14 November 2010, I went to a doujin event at Sunshine City in Ikebukuro, 450 fan circles (mostly selling CDs, but also earrings, illustration books, posters, games, etc.) 7000 fan / consumers, and more wanted to get in but were denied (unless you purchased catalog beforehand, and catalog sold out before the event)
- Prices range from Y100 (CD) to Y2000 (for CDs on left) But mostly people seemed to be there to share in the excitement, To discover something unknown, and to have a chance to show off To others. Spoke w/ half dozen fans: many reasons for liking Miku . . . I don't have friends who can sing, but thls lets me make a whole song. It's a voice that's only from a computer; it's like it's from a parallel world Japanese people like machine-like things. There's no room in Japanese homes [so handy to make music with just computers]. 無限の存在 infinite possibility
- For example, authorship by Miku P (Miku producers) is still v. important - eg. Hachioji P What’s going on with this phenomenon? I got a sense from my fieldwork in Tokyo anime studios . . . characters and the social energy that goes into them is a big part of anime’s success
- “This is important because there is a widespread assumption that societies are, in some sense, systems of reciprocal exchange in which accounts ultimately balance out. This is simply not the case. . . . The very idea of “the market,” in which all exchanges balance out, is just such an imaginary projection” (Crit Terms, p. 222)
- the labor of fans -- identifying the various impacts of fan participation NOT FOR SALE: so driven more by what THOMAS LAMARRE CALLS "a collective force of desire." aiming to support anime culture, but unwilling to abide by copyright law. piracy, sharing, participation . . . a kind of DARK ENERGY that is largely non-commercial invisible by economic measures, expands the cultural universe of anime
- bleeding across boundaries perverse politics of youth depend on understanding the value of new connectivities through popular culture. including worlds beyond capital FEEDBACK LOOPS, circulation of culture and shifting communities of value both anime and hip-hop are cultural forms that were deemed "fads," no serious culture, but "subcultura and therefore morginal, or commercialized pop, without meaningful political value. I would argue the opposite: politics is increasingly driven by dynamics similar to those that drive popular culture Faddish phenomenon can have real political consequences. Of the thousands of people who have been killed by US forces in Iraq The 17 civilians killed by Blackwater may bleed into a reconfiguration of American power. What can we learn from examining the circulation of popular culture?
- Recent research by Prof. Shichijo, looking at Comic Market, Found that there is a split between Comike’s official goals, And the goals of the participants. The official goal is:
- What comes after the industrial revolution? Can we find inspiration in media for alternative forms of org’n/production?
- Karl Marx critique of capitalism: power to those who control means of production, but who controls today? no longer clear who is a “producer” and who is a “consumer”
- This difference is partly because TV manga was largely for children (Doraemon being one of the most influential in this history) Early TV anime based on manga ("TV manga") ready-made fans proven sales sponsors: sweets, stationary Super robot anime attracts toy companies Mazinger Z (1972, Toei) metal alloy toy a big hit toy co.s help design robots long history begins (100+ series)
- TV commercial
- community, social energy -> success, even though the money making comes later
- wolf children - a look at the challenges of youth who face uncertain futures . . . . this is an “interpreting the content” approach to media studies, also the most common way of explaining anime’s success but what happens if we change the question from “what within anime (the object) makes it successful to exploring instead, who makes anime successful
- I’m a cultural anthropologist - fieldwork, participant-observation
- I’m an anthropologist - fieldwork & participant-observation - can bring new insights to media - and by extension for thinking about the emergence of new kinds of media businesses, networking, and organization
- The space between the panels, “What comics aficionados have named ‘the gutter,’<HR>” he writes, “plays host to much of the magic and mystery that are at the very heart of comics” (McCloud 1993: 66). This magic and mystery also depends on someone else. “Every act committed to paper by the comics artist is aided and abetted by a silent accomplice, an equal partner in crime known as the reader,” McCloud (1993: 66) writes. “I may have drawn the axe being raised in this example, but I’m not the one who let it drop or decided how hard the blow, or who screamed or why. That, dear reader, was your special crime, each of you committing it in your own style.” This observation is only partly true. We, the audience, are not equal partners in crime, but we do have a role. The gutter draws attention to that role as the negative space that creates a vacuum, pulling the reader in and encouraging us to finish the thought.