The rise of the Internet also meant that Comike lost its monopoly as the center of otaku and dōjinshi culture. Nevertheless, Comike remained the most important event for Japanese fans, especially after companies with otaku-related products started to exploit it.
In this sense, therefore, the informal practices of fan culture appear uniquely compatible with a free and open culture in which participation in the processes of creation is unhindered by institutional or legal means. More recent research into fan practice—particularly
Storify of conference panel: Industry Studies and/as Audience Studies #scms14
Storify of conference panel: Industry Studies and/as Audience Studies #scms14 Panel presentation at the 2014 Society for Cinema and Media Studies conference, Seattle WA, March 21, 2014 featuring @melstanfill, @derekjohnsonUW, @iheartfatapollo, and @mkackman
[QUOTE] From Mel Stanfill, Fandom, public, commons
Of course, fandom has never been isolated from market values, not least because it tends to respond to capitalist-produced media. But normatively, the counterpublic hailed by fan texts was a noncommercial one. This has given rise to contentions that Kindle
Anime gets its own Veronica Mars Kickstarter: overseas fans raise $150.000 in 5 hours for ‘Little Witch Academia’
As reported by Anime News Network and others, Japanese animation studio TRIGGER’s Kickstarter campaign to make a sequel episode to their Little Witch Academia OAV met its goal of $150.000 in less than five hours. The Kickstarter is at $285.000
[QUOTE] From Suzanne Scott, Repackaging fan culture: The regifting economy of ancillary content models
My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom’s gift economy and focus on flagrant instances of the industry’s attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift
[QUOTE] From Hye-Kyung Lee, Participatory media fandom: A case study of anime fansubbing
Finally, the globalization of media fandom is also driven by consumers’ mobilization and coordination of intellectual capacities to mediate foreign cultural texts. Utilizing their own resources and skills, members of the fandom are willing to and capable of carrying out
[QUOTE] From Fan-Yi Lam, Comic Market: How the World’s Biggest Amateur Comic Fair Shaped Japanese Dōjinshi Culture, p240-241
Since the 1980s, it has become common for talented dōjinshi creators to be recruited by professional companies and become popular on the mass market. Many famous artists have had a past in the dōjinshi scene or are still involved. Artists—including
[QUOTE] From Hye-Kyung Lee, Cultural consumer and copyright: a case study of anime fansubbing
Similarly, fansubbing has been regarded as an equivalent for TV. In the anime industry context, the role of TV is crucial in nurturing consumer demand for DVDs. For example, the Japanese anime industry witnesses fans normally testing the anime via
[QUOTE] From Suzanne Scott, Repackaging fan culture: The regifting economy of ancillary content models
My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom’s gift economy and focus on flagrant instances of the industry’s attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift