Debating Otaku in Contemporary Japan: Historical Perspectives and New Horizons

Description

With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term 'otaku' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term 'otaku' appeared in the niche publication Manga Burikko in 1983. Debating Otaku in Contemporary Japandisrupts the naturalization and trivialization of 'otaku' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor ofManga Burikko– explore key moments in the evolving discourse of 'otaku' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions 'otaku' in specific historical, social and economic contexts, providing new insights into the significance of the 'otaku' phenomenon in Japan and the world. By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars,Debating Otaku in Contemporary Japanprovides alternative histories of and approaches to 'otaku'. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how 'otaku', at different places and times and to different people, is meaningful. Cover page ......Page 1 Halftitle page ......Page 2 Copyright page ......Page 3 Copyright page ......Page 5 Dedication ......Page 6 Contents......Page 8 List of Figures and Tables......Page 10 Notes on Contributors......Page 11 Translator’s introduction......Page 14 Foreword......Page 16 Notes......Page 27 References......Page 29 Acknowledgements......Page 31 Introduction ‘Otaku’ Research: Past, Present and Future......Page 34 On ‘otaku’ research......Page 35 Otaku/ Otaku /OTAKU......Page 37 Taxonomy of fans......Page 41 Social constructionist approach......Page 43 A revised labelling approach......Page 46 Notes......Page 47 References......Page 49 Section One The 1980s......Page 52 Desire for fictional characters......Page 54 The case of Manga Burikko......Page 57 ‘Otaku’ as failed men......Page 59 Conclusion......Page 63 Notes......Page 64 References......Page 66 Introduction......Page 68 Nakamori Akio and ‘ “Otaku” Research’......Page 69 Otaku’ recognized as a discriminatory term......Page 72 The editorial strategy of Ōtsuka Eiji surrounding ‘otaku’......Page 74 Self-tormenting ‘otaku’ and enlightened activity by the editorial board......Page 78 Notes......Page 80 References......Page 82 Introduction: Assembling otaku......Page 84 Point of entry: Qualitative content analysis......Page 87 Otaku and the mass media......Page 88 Tabloids and the Miyazaki reserve troops......Page 92 Managing otaku......Page 93 Establishing otaku......Page 96 Conclusion: Recursive modes of ordering......Page 97 Notes......Page 98 References......Page 101 Section Two The 1990s......Page 104 Introduction......Page 106 General representations of otaku in media......Page 107 What are otaku?......Page 109 Otaku no Video (1991)......Page 110 The otaku object in Otaku no Video......Page 112 The otaku subject in Otaku no Video......Page 114 Mockumentary as otaku gaze......Page 115 Traversing fantasy in Otaku no Video......Page 117 Notes......Page 118 References......Page 119 Translator’s introduction......Page 122 Part 1: Subculture and otaku culture......Page 123 Freedom of otaku culture......Page 128 Part 2: Otaku are the legitimate heirs of Japanese culture......Page 130 Notes......Page 132 Section Three The 2000s......Page 136 Introduction......Page 138 Birth of the category of ‘otaku’......Page 139 ‘Otaku’ as a personality problem......Page 140 Theories of ‘otaku’-style consumer society......Page 153 Theories on otaku as fashion......Page 155 In lieu of a conclusion......Page 158 Notes......Page 159 References......Page 160 Introduction......Page 162 How fans created Train Man and engendered media trends......Page 163 The gender politics of mainstream otaku culture......Page 169 Conclusion......Page 174 Notes......Page 175 References......Page 176 Akihabara as cutting-edge electric town......Page 180 Competing images of Akihabara......Page 182 The origin and transformations of ‘otaku’......Page 185 Study of otaku stereotypes......Page 186 Notes......Page 192 References......Page 193 Translator’s introduction......Page 196 How otaku became otaku......Page 197 The existence of ‘M’......Page 198 Introduction to Otakuology......Page 199 Image changing for the better......Page 201 Expansion of otaku......Page 202 Otaku forebears and the first generation......Page 203 The first generation, or the TV generation......Page 204 The cultivated third generation......Page 205 Definition by academia......Page 207 Japan is not limited to Tokyo......Page 208 Notes......Page 209 References......Page 210 Introduction: the common sense on ‘otaku’......Page 212 The study of ‘otaku’ as a label and its theoretical implications......Page 213 Disgusting excitement at two-dimensional characters (that are not naked)......Page 215 Unproductive and auto-productive desires......Page 220 Conclusion: Concerns over productive capacities in contemporary capitalism......Page 223 Notes......Page 225 References......Page 226 Index......Page 230