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Presentation: Comics as medium problem areas
In current manga and comics studies, non-fiction works, works that do not appear in printed form, and amateur works created outside of the "official" publishing industry are relegated to the periphery of the field at best. Can a field called "global comics studies" be relevant without first overcoming this lack of inclusiveness? If we wish to engage in cross-cultural comparisons of certain creations within well-defined theoretical frameworks, we must be able to define what, for our purposes, constitutes a "comic". We might assume that form dictates what is a comic, but is it even possible to establish the formal attributes of a "comic" and then determine which works conform and which do not? We might also attempt to identify "comics" based on content rather than form. However, any distinction drawn between "proper" storytelling forms and those that do not conform runs not only the risk of being arbitrary, but of dismissing the preferred modes of communication of less privileged groups.
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Kyoto 2009
23 Nov 09
Knock it off: Global treaty against media piracy won't work in Asia
"That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions.\n\nKai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines.\n\n"They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says. "
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That partnership between content provider and consumer is exactly what's missing in the Western world's debate over intellectual property, where movie studios and record labels talk about their customers as potential criminals. In Asia, media companies have a much closer and more interactive relationship with fans, treating them as partners in evangelizing their products -- even when that means blurring the lines of copyright restrictions.
Kai-Ming Cha, manga editor of Publishers Weekly, notes that Japan's media industry has "developed a detente" with fans. She points to the example of doujinshi -- amateur "homage" publications that depict popular anime and manga characters in original, sometimes pornographic storylines.
"They realize these unauthorized spinoffs help to build the fandom, and ultimately drive sales of the original," she says.
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