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Posting Komentar Leave A Comment Bruno Tabata Sporting de Lisboa ha sido amonestado con tarjeta amarilla por juego peligroso. They were up at half-time thanks to Hallers The sanitized past as presented by the movies is free of controversies. Instead they focus on love and family values.

The same is true for narratives in fan productions. Standish , pp. With modern special effects and starring popular actors, they remain more attractive for young audiences than their cinematographic antecedents. Because of its massive popularity, today the franchise includes manga, light novels, console and arcade games, anime series, and other products.

It presents the adventures of wartime navy vessels personified in the form of young, cute girls. Although the franchise does not present wartime events, it refers to wartime visual elements and presents detailed information about wartime technology. Seaton et. However, some of them did not give up on fan productions and continued to create fan works alongside commercial works.

Fan productions range in quality from poor to the quality seen in commercial works. They differ also in popularity, with some being barely discovered and others particularly those of high quality being broadly recognized among fans and introducing new trends in a similar way to mainstream productions.

It becomes important, therefore, to present the definition of fan productions I will be using to distinguish commercial and fan productions. Du Gay et al. While I use this concept to define fan productions, I modify it by adding a sixth process — distribution.

In the twenty years that have passed since the creation of the original circuit of culture, the means of digital distribution has developed and changed the ways that products can be shared and distributed among users. The Internet, as major means of fan production distribution, strongly influences the other elements discussed by Du Gay.

Figure 1 The Circuit of Culture. Production Produced after the consumption of other commercial goods like movies, books, songs etc. Table 1 Elements of the modified circuit of culture as they relate to fan productions. Fan productions are understood to be all works to which the above concepts apply. It is useful to contrast these characteristics with those of commercial productions.

Nor do I take into account the artistic value. How the elements of the modified circuit of culture relate to commercial productions is shown in Table 2.

Distribution In commercially regulated places such as stores, cinemas, and exhibition halls; via public and private broadcasting; in the form of magazines, books, networked streaming, CDs and DVDs; or digitally in Internet stores and rentals. Buyers can get also benefit from special offers or limited edition goods. Table 2 Elements of the modified circuit of culture as they relate to commercial productions. Overview of thesis structure In this chapter I have presented the theoretical framework that informs the four case studies, which each focus on a different form of fan production.

A particular focus during the research was the creators' use of historical narratives, how they are influenced by popular culture, and their position on the ideological scale of war memories. They are historically accurate, but images are selective and stories focus on biographical episodes of historical figures. They reflect the trends and tropes popular among fans and become a highly entertaining form that not only provides certain amounts of information about war history to the readers, but also encourages them to do further study by providing reference lists.

Chapter 4 focuses on war representations in music. This relationship is also reflected in the case of mainstream artists, as more popular ones tend to voice more reserved, vague opinions, and niche musicians take a clearer stand regarding the war in their compositions. Moreover, while still remaining an entertaining fan practice, out of all the discussed forms of productions fan music is the most directly politically engaged. This tends towards the tradition of protest songs. Chapter 5 discusses two forms of fan production created exclusively with computer software and distributed online in the form of videos.

The first form is fan videos, called also fanvids or MADs. These remix third party content like scenes from popular movies, documentaries or photographs and are combined with a music track, usually a pop or rock song.

The second form is original compositions made with voice synthetizing software, which are accompanied with original graphics or animations. The emotional narratives may suggest more conservative views than the creator actually holds. Chapter 6 presents the practice of military cosplay.

I focused on two groups: Nazi and Imperial Japanese Army cosplayers. These cosplayers perceive themselves as a separate group from those impersonating anime, manga and game characters.

The former are cosplaying outside of their identity zone. They are motivated by curiosity and the aesthetic appeal of Third Reich uniforms, but remain aware of Nazi crimes and largely critical of them. The latter are cosplaying within their identity zone, express admiration towards the soldiers they impersonate, look for the connection with national past, and expressing national pride by wearing the wartime uniform.

Based on interviews with cosplayers, I discuss the influence of the identity zone on the perception of major historical events. Chapter 7 summarizes and concludes main observations of this study. The results of the research contribute to knowledge about Japanese war memories in several ways. This is due to the connections between entertainment works and conservative narratives, as well as the greater role of emotional rather than intellectual reaction in the creation and consumption of these works.

War history for them is an important part of their identity. It is an element they are proud of and towards which they feel a strong personal connection. It suggests the major influences are media and popular culture, but also family and friends, commemorative sites and school education.

The fan productions are made for public consumption and easily accessible, mainly on the Internet. The Internet era enables individuals who wish to remain anonymous to share their works with numerous consumers, blurring the lines between creators and audience. Consequently, the study provides information on the role of nostalgic, idealized and heavily mediated war memories, entertainment and conservatism in the process of the identity construction of young Japanese in relation to the war past.

The planned exhibition was reported as paying too much attention to Japanese casualties resulting from the atomic bombing. See Wittner In the introduction to their book about the representation of history in manga, Otmazgin and Suter , pp. By depicting historical events and reshaping historical narratives, manga combines information and imagination, fact and fiction, representation and political statement.

They mix historical events and characters with fictional elements in creative ways, in some cases interpreting facts in a very loose manner. The first postwar wave of manga depicting the conflict, from the late s to late s, focused primarily on aerial battles.

They ignored the home front and presented pilots as heroic, patriotic volunteers fighting over the Pacific Nakar , pp. Their works are fictional rather than autobiographical.

It has been read worldwide, used in peace education in Japan, and analyzed in academic scholarship Fukuma and Yoshimura , Fukuma, Yamaguchi and Yoshimura , Penney Mizuki suffered from malaria and lost his arm in an air raid. There he experienced an air raid, which was later depicted in his manga Kami no toride The paper fortress Tanaka Such manga can sell well.

Not only do they send pacifistic messages, but they also address graphically Japanese war crimes. Aru hi ano kioku wo koroshi ni One day to kill that memory by Ishizaka Kei tells a story of a Japanese tourist interacting with a former Korean enforced military sex slave comfort woman , and his attempts to understand the system of forced prostitution in the Imperial Japanese Army and the harm it did to its victims Ropers The author was forced to redraw a photograph depicted in the manga that was attacked by nationalists as falsificationiv Berndt , p.

Such cases show that mainstream manga can address issues of Japanese war responsibility. There is also a receptive market for manga with conservative and nationalist content. Doujinshi can be homages to existing texts, inspired by anime, manga or game and even Western texts Lamerichs , pp. Over the years it has become an important space for the promotion of commercial pop culture products.

Noppe , pp. Fan fiction, both in textual and in graphic form, are mainly derivative works, published by amateurs free of charge on the Internet. The works discussed in this chapter are not based on any copyrighted materials, and are thereby fully legal productions. They became truly popular in the postwar period, when many more amateurs started creating manga circles Lam , pp.

Comiket not only gave circles space to present their works, but also a space for individual fans who were not creators to visit previous events targeted creators only. Particularly popular titles gain their own category. These numbers indicate the dominance of derivative works. Comiket is the event in which most circles try to participate. Members of circles either participate in Comiket personally, or in the case of more popular circles, hire staff to sell their works in the venue.

Older works tend to be cheaper than newer ones. Circles also use social media like Pixiv, where it is easier to discover their works accidentally. On Pixiv, users can find artworks by using tags, so fans of a particular genre can find content of interest to them relatively easily.

Pixiv contains mainly fan art in the form of graphics rather than short comics or light novel samples. Artists can be followed, so subscribers are informed about new posts. The popularity of circles is reflected in the number of followers they gather on social media. It increases the possibility of being discovered by potential consumers, and it also creates the ability to communicate with the fans while remaining anonymous.

The creators can do this without providing any information about themselves, a point which is important to some of them. Sometimes physical copies are mailed to buyers, while some purchase and download digital copies.

As Noppe , p. This is also the case for Japanese research, in which issues regarding copyright are debated see Yonezawa Still, as Noppe , p. This chapter examines, therefore, what types of narratives are presented, in what ways, and using what kind of resources. Based on the event catalogue, circles focused their work on historical representation.

Circles did not limit themselves to comic books. The numbers of circles is not the number of works produced. One creator told me that a circle is often associated with a particular topic.

The same artist can host more than one circle to create works in quite different genres, for example historical manga and derivative manga based on a video game nekosaji Works produced by circles vary both in form and content.

The circle Arayashiki produced materials presenting the history of the Czechoslovak Republic under Nazi occupation. Five circles produced manga exclusively. Ninomaehajimexvii aka Otto Ohlendorf: the person uses a German pseudonym in addition to a Japanese one produces manga with stories set in Nazi Germany. Akitsukixviii combines both, dividing each of her comic books into two parts: one dedicated to Imperial Navy particularly lieutenant commander Itakura Mitsuma , and the other to Nazi officers, especially field marshal Erwin Rommel.

In the context of the 36, circles presenting their works during Comiket 90 these numbers certainly appear marginal, but they should not be ignored. By , nekosaji had created three works concerning Zuikaku officers. Mamezawa had produced two works about the Hiei, two about the Musashi, and one about the Mikasa. Egetsunaiyanke has created more than ten such volumes. Compilation These works are based on extensive research by the authors and conform closely to the historical record.

While analyzing these works, I focus primarily on the content, but also discuss the production process. Buchholz has analyzed the history of jibunshi and its role in shaping Japanese war memories.

She noted that personal accounts of war started appearing in magazines in the s, and the jibunshi movement spread extensively from the late s. Individuals between the ages of sixty and eighty had more time to write, and word processers made the process technologically possible. The biographical stories of historical figures portray their protagonists as dedicated military members, but also as primarily likeable human beings.

Buchholz , p. These personal accounts became an important part of Japanese popular culture and helped shape collective memories. Otmazgin , p. All three circles may present different angles in the representation of war history, but they remain similar in that all focus on personas and events related to the Imperial Japanese Navy rather than the Army. In addition to responsibility issues, the ships and white navy uniforms are seen as aesthetically pleasing, and therefore more appealing to both male and female readers mamezawa The great popularity of KanColle also evokes broader interest among readers and creators in the Navy nekosaji All works focus primarily on historical personas, without introducing fictional main characters for plot purposes, as often happens in mainstream manga.

Nevertheless, in each of the presented works, historical figures are treated in different manners. The former went down with his ship in , and the latter served on the same carrier but was rescued and died aged 91 in The manga presents mainly the memories of Takai about his relationship with Kaizuka.

Given this great variety of characters, all figures have their names written next to the panel of their first appearance on every page. All circles provide readers with additional biographical notes on the figures presented to make sure readers know who are they reading about. Yuki ni hana has a note concerning the lives of both characters, although the author says it may not necessarily be correct because it is based on her personal research , so it says more about the manga than actual history.

Next to the biographies of the characters appearing in the manga, there are separate notes dedicated to the Imperial Japanese Naval Academy, battleship Yamato, and a war timeline giving some major events in more detail. The reader does not need to look elsewhere for the information needed to understand the story, but without considerable knowledge of war history, readers need to read the additional information to enjoy fully the manga.

In the case of Egetsunaiyanke, there is a map of Japan with the museums and memorials the author visited for research purposes and recommends to the readers. By contrast, as Otmazgin , p. None of the circles tried to rewrite history significantly, but the historical context tended to be a backdrop for relationships between the characters.

The main plot revolves around the bonds between Kaizuka and Takai. The climax is a symbolic moment when Kaizuka asks Takai to light his last cigarette as they are about to separate, shortly before Zuikaku sinks. Consequently, even though war history is crucial for the story, it remains the setting rather than the narrative core. Historical figures and events are presented in a humorous, parodical manner. The author picks an event and uses the relationships between personas or factions like the antagonism between the army and navy to build a comical caricature stripped of pathos or sentiment, but showing human nature in a direct way.

Absurd humor makes it relatively easy for the reader to distinguish between fact and fiction. Some of the episodes presented are written in the context of major scale historical events, like the battles of Midway, Leyte, and Iwo Jima, or the sinking of the battleship Yamato. Dower called it , p. And, indeed, so does the enemy. Others portray enemies only abstractly, in the form of a distant plane, a running fire, the chatter of a machine gun or boom of field artillery.

The Japanese, who are presented in a generally positive way, are not juxtaposed against a visualized enemy, and no hatred towards the foe is expressed. Characters engage in combat, but against a vague force. He lived for decades embracing his memories of a bygone era and people he could never meet again. Recollected memories are colored by temporal and spatial distance, resulting in idealization of the past. Notions of comradeship and brotherhood are important elements of army representation, especially in conservative productions.

As Standish , p. While the homoeroticism is subtle in Yuki ni hana, two other circles have presented more explicit content. During Comiket 90 the circle of Otake Naoko presented a volume of stories of Imperial Army and Navy veterans talking about homosexual relationships in the army. They were originally published in the s in kasutori magazines cheap pornographic publications popular in the postwar period and completed with the addition of illustrations by the circle.

Noppe , p. After a series of cute, humorous strips, the story reaches the point when the ship sank. Hurt and abandoned, the lonely boy accepts the bitterness of being left alone to die. Although Hiei wanted to be saved, he eventually accepted his upcoming death in the hope of victory. As these scenes do not include any explanation about how Hiei ended up near Guadalcanal Island and why he was being attacked, the reader can focus on the emotional reaction, without too much consideration for the historical background.

The old man is exculpated for abandoning his ship when Hiei tells him to stop suffering and embraces him. The trend of personification gijinka is rooted in the idea of moe, as discussed in Chapter 2. Miyake , pp. The work that introduced the idea of anthropomorphism of nations was Axis Powers Hetalia, which started as a web comic created by Himaruya Hidekazu in The web comic told short anecdotes about relations between the Axis Powers and Allied countries personified as cute boys.

It presented various stereotypes about the countries, but grew into a mixed media franchise and was also popular outside of Japan. Although KanColle is the most commercially successful, it is not the only title presenting anthropomorphic vessels from World War II.

By using anthropomorphism, the creator gets a chance to make the reader actually like and care for the vessel and to make it aesthetically pleasant through its kawaii form. Both mamezawa and nekosaji believe that the popularization of gijinka works using war as one of their motifs is a good thing. McLoughlin , p. Mass slaughter and widespread destruction are no laughing matter …. Comedy in a wartime setting emphasizes the everyday struggle of ordinary people both conscripted and civilians who found themselves living in difficult circumstances, and give audiences a sense of continuity by showing that even during war people still have small weaknesses and everyday lives.

Black humor, moreover, is emphasized as a coping strategy when dealing with the terror of war. Japanese mainstream popular culture tends to eschew humor in representations of war. Morreall , Lippit However, rather than continuing in the same serious manner, the author confronts the reader with a sudden, unexpected twist. The characters start to behave and interact in a way far from the dignified manner familiar in popular representations, therefore achieving a comical effect.

Simultaneously the realistic drawing style becomes deformed and caricatured. It seems that the comedy is welcomed by readers, because Egetsunaiyanke is established as a circle. Fan comics reuse and remix recognizable tropes, while simultaneously telling new stories to the reader and providing them occasionally with new historical information.

Fan comics are rooted in a deep fascination with the military, particularly the navy, and they present predominantly conservative narratives. Circles do not use argumentative rhetoric aimed at convincing the reader of a certain worldview as nationalistic mangaka do , but most usually present a positive image of the Imperial Navy, while cutting out the historical context despite often precise portrayal of historical details.

They perform their duties with a smile, engage in friendly interpersonal relationships, make jokes, have hobbies, and get tired and scared sometimes. Readers can relate to such characters. Depictions resemble the narratives in textbooks, about which Carol Gluck , p.

To the less informed reader, these are random episodes, but some more historical knowledge allows readers to connect the dots. This narrative technique is used by all three circles. They place their characters in a given situation without too much explanation of the political decisions and events that led to them.

Consequently, no questions of responsibility and aggression are raised. It focuses on their humanity and their individuality, their challenges, their fears, their vulnerabilities and most of all their youth.

Allen and Sakamoto , p. While the enemy is generally invisible, in the brief scenes when the enemy does appear it is only an American one. After landing, the crew wants to give gifts of salt to locals, but get approached instead by the enthusiastic Japanese army. The atmosphere of the story is joyful and no explanation is given about the reasons for the Japanese military forces being in China. War stories told by the circle generally have conservative characteristics, and all additional explanations given by the author only confirm her strong fascination with the Imperial Navy.

Both are known for their conservative exhibitions cf. Seaton , Allen and Sakamoto So, other cadets start asking admiral Onishi to accept them as kamikaze and let them die beautifully and successfully migoto ni. Despite the comical distance and ironic mocking of pompous mainstream representations, the circle still exhibits faith in the strength and dedication of the Japanese Imperial Navy. Nevertheless, they are an important genre with a considerable fan base. These amateur comic books can be seen as an inheritance of the jibunshi tradition.

The narratives, however, are fragmentary, and show events without the major context or a coherent historical narrative. They are created by people interested often in one particular issue or figure, and so they reflect the particular interests of their creators. Although not numerous, these works find keen consumers. Nationalist historian Fujioka Nobukatsu, for example, casted doubts about the credibility of photographs documenting Japanese war crimes in China cf. It has been adapted in various media in Japan, including manga, anime and video games.

In , the composer was revealed to be a fraud and his compositions were ghostwritten, but for several years the symphony was acclaimed as a popular tribute to war victims. And Roberson , focused on another aspect of war memories in music: their regionalism as visible in Okinawan music. Manabe Noriko , , has discussed extensively the role of music in political demonstrations, including those against nuclear power plants and those opposing the politics of the contemporary conservative government.

From this perspective, music is seen as a tool for attracting participants to street demonstrations. It can also be a means of spreading ideological messages in a simple, amusing form that can be easily repeated by listeners. However, they do not conform to the definition of fan production.

The politically engaged songs discussed by Manabe are created as part of organized political activities, not as a hobby. They accompany events, aim to attract people to take part in those events, and introduce certain ideas to the audience as part of a bigger political project.

The fan music that I will discuss in this chapter is created as a means of entertainment and may be categorized as a hobby. The study is divided into two parts. First I discuss mainstream, commercial music. The primary objective of this part is to present how, similarly to other Japanese pop culture productions, music covers a broad ideological spectrum from nationalist to progressive based on the ideological spectrum of judgmental memory in Seaton , pp.

Reading or analyzing lyrics as a poem in isolation from the music can impact the audience in a different way compared to only listening to the music. Even though I juxtapose mainstream and fan music as separate categories, the lines between them remain fluid. Mainstream music is by no means a monolithic construction. Some artists sell millions of albums, while others never make the Oricon music charts. Songs reach different sizes of audience via different media, and not all songs are easily found on television or radio.

But, these artists are all professional musicians making a living out of music. The boundaries between professional and fan musicians are blurred, therefore, but the categories are clear enough to identify certain tendencies of professional and fan musicians.

Fuchs Nevertheless, these bands have found themselves a niche in the Japanese music market, release records under commercial labels, and sell their music mainly via Internet stores, in some cases including Amazon. They also play live concerts, often during events with a clear nationalistic angle, attracting a specific audience. An aikoku band that has found rich inspiration in war history and can be considered relatively successful — in that it has signed a recording contract, has released two albums and professionally shot music video — is AreiRaise.

The name of the band was chosen carefully. The official spelling used by the band is Romanized, 'AreiRaise', while the reading given in katakana reflects English pronunciation. Another irony relates to their musical genre. Compared to other aikoku bands, AreiRaise are more widely recognized. Instead of selling recordings mostly at events, their two albums can be purchased countrywide on Amazon, and in five of their compositions were available in karaoke boxes belonging to Joysound, the company licensed to distribute karaoke versions of AreiRaise songs AreiRaise As Japanese you cannot forget 8 December Engrave them, those ordeals The anniversary of rising up, strong, proud men … Take back our pride outbreak of war … Take our history back outbreak of war … Remember Pearl Harbor Did you forget these words?

The band sings in the chorus about the outbreak of their personal war. The project began as an amateur band created by young Yasukuni enthusiasts, and finished when they decided to pursue other professional careers and family life.

Moving along the scale of judgmental memory, the conservative position is represented by Softball, a punk girls trio from Chiba prefecture that was active between and Softball, n. Do I really understand that war? I can feel my self dreary. In , our grandfathers Flew to the Pacific holding in pond domb [sic]. And they passed away.

At the departure risking their lives … Do I understand a brave spilit [sic] of the same ancestor? If I am in their situation, Do I have the same courage as his?

What do I have to think as a Japanese? Look back history. These lyrics, including all the mistakes, are copied directly from the CD notes.

Fortunately, the CD notes give not only lyrics in English, but also a Japanese translation. There is no explanation of why the songs were performed in English. It could simply be following the fashion for using English, although praising Japanese soldiers in a foreign language especially English is an irony which seems to remain unnoticedxxx. Akiakane n. In Remember the hill, Softball portrays Japanese soldiers, epitomized by the kamikaze, as young, brave and tragic heroes. This conforms closely to a conservative position on the ideological scale.

Hamada was born in Hiroshima prefecture in He told his story about growing up in postwar Japan and his journey from boyhood to adulthood in a musical trilogy consisting of the albums Down by the mainstreet , J.

The song with the clearest references to the atomic bombing is Hachigatsu no uta August song on the album J. In Hachigatsu no uta Hamada did not criticize pacifist sentiment, but highlighted this irony. He has highlighted the international problems caused by war issues remaining unresolved. Pak Poe, born in to a Korean father and Japanese mother, is a rock musician writing and performing in Japan. The song Hiroshima Never again , for example, presents a terrifying description of what happened to people after the nuclear explosion.

For what kind of just cause? Their restless spirits are wandering aimlessly … Wounded soldiers, comfort women, Matsushiro Imperial Headquarters However, however, in reality The war is not over yet. Under the Military Pension Law restored in August , Japanese veterans received lifelong pensions. In subsequent years several laws guaranteeing pensions and compensation for Japanese veterans and bereaved families were introduced Itoh , pp.

The last issue is the Matsushiro Imperial Headquarters. An estimated six thousand Korean forced laborers were involved in the construction and many died in the extremely bad conditions, although precise numbers are unknown because documents were destroyed at the end of the war Maeda et al. Pak intends the shelter to be a metaphor for forced laborers, especially Koreans who died during its construction. Pak Poe states in this song that as long as these responsibilities remain unresolved, the war has not truly ended.

This places him on the progressive end of the ideological scale. While his nationality may be debated, he is a Japanese musician in that he records his albums in Japan, performs mostly in Japan for Japanese audiences, and sings in Japanese.

This use of English is understandable given that Pak spent almost a decade in the United States and he sometimes performs outside of Japan. Nevertheless, Pak works in the Japanese music industry. The messages of his songs place him at the progressive end of ideological scale represented in Japanese music. However, there is a relatively small number of performance venues available for ideologically engaged artists. As Manabe noted, Broadcast media, particularly television, continues to be an important means for promoting music, and music and broadcasting industry personnel acknowledge that songs critiquing the government, specific companies, or named individuals are unlikely to be aired.

Furthermore, musicians airing such views can see a reduction in bookings. The critical reaction was caused by youth organization political leader Okuda Aki's appearance at the Fuji Rock Festival. Many online comentators stated that music festival should be a place for musicians only, thus inviting a political activist as speaker was judged as wrong Tsujita It is not only fans expressing displeasure with artists' political engagement. He was urged by the city council to refrain from political statements Litera b.

The consequences of political engagement can be greater than just warnings. Actor and television personality Ishida Junichi in spoke out against the introduction of new security legislation.

As a result he lost advertising and television appearance contracts Isesaki These cases show how the separation of entertainment and politics is enforced by sections of the industry and many fans. In other words, for artists, distancing themselves from certain statements may be helpful for developing a successful in commercial terms career. Related: "My body, my image and how I choose to look and what I want to share is my choice. It's not for anyone to decide or judge what is acceptable or not anymore," she said.

Romulus did not immediately respond to a request for comment from TMRW. Amanda Hirsch, host of the "Not Skinny But Not Fat" podcast, didn't repost the photo, but shared screenshots of takedown notices other people received after they did. Her face looks like old Khloe, her body is banging and honestly flawless, it's just not airbrushed, edited and Photoshopped to the max.

She looks so young and fresh. Kardashian debuted a new look in March that was nearly unrecognizable to fans. While she looks great in both, many people agreed they loved seeing the reality TV star rock a more natural look.

Own it! This is wild," another person tweeted in response to a takedown notice. This is wild. A representative for Instagram declined to comment on why the photo was removed, but referred TMRW to its policies on intellectual property.