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Bridge builders, world makers: Transcultural Studio Ghibli fan crafting. / Rendell, James.

In: East Asian Journal of Popular Culture, Vol. 4, No. 1, 01.04.2018, p. 93-109.

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Rendell, James. / Bridge builders, world makers: Transcultural Studio Ghibli fan crafting. In: East Asian Journal of Popular Culture. 2018 ; Vol. 4, No. 1. pp. 93-109.

BibTeX

@article{c36606b7b169408bac71b86cb7be5781,
title = "Bridge builders, world makers: Transcultural Studio Ghibli fan crafting",
abstract = "Whilst global hits such as Pok{\'e}mon utilized what Marc Steinberg calls anime{\textquoteright}s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, what do fans do when their championed fan objects offer a relatively restricted media palette? This article looks at how Studio Ghibli has, to a degree, negotiated and/or rejected the traditional {\textquoteleft}anime media mix{\textquoteright}. This is not to say that Ghibli is void of media mixing; rather, via online communities, one has seen a growing presence of fan-crafts whereby audiences are making their own Ghibli objects. In doing so, these transcultural fan-made Ghibli objects extend fan ideologies linked to the studio, expanding on what Susan Napier terms {\textquoteleft}MiyazakiWorld{\textquoteright} (2006: 49, 2007: 193). Much like Miyazaki{\textquoteright}s philosophy, this is not entirely rejecting industry, but offering creative alternatives. The fan-as-producer of Ghibli objects is doing so through convivial construction. Thus, this article offers new insights into global audience practices and affective meaning-making around Ghibli that goes beyond the films themselves.",
keywords = "Studio Ghibli, Cinema, FILM, Fandom, Craft",
author = "James Rendell",
year = "2018",
month = apr,
day = "1",
doi = "10.1386/eapc.4.1.93_1",
language = "English",
volume = "4",
pages = "93--109",
journal = "East Asian Journal of Popular Culture",
issn = "2051-7084",
publisher = "Intellect",
number = "1",

}

RIS

TY - JOUR

T1 - Bridge builders, world makers: Transcultural Studio Ghibli fan crafting

AU - Rendell, James

PY - 2018/4/1

Y1 - 2018/4/1

N2 - Whilst global hits such as Pokémon utilized what Marc Steinberg calls anime’s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, what do fans do when their championed fan objects offer a relatively restricted media palette? This article looks at how Studio Ghibli has, to a degree, negotiated and/or rejected the traditional ‘anime media mix’. This is not to say that Ghibli is void of media mixing; rather, via online communities, one has seen a growing presence of fan-crafts whereby audiences are making their own Ghibli objects. In doing so, these transcultural fan-made Ghibli objects extend fan ideologies linked to the studio, expanding on what Susan Napier terms ‘MiyazakiWorld’ (2006: 49, 2007: 193). Much like Miyazaki’s philosophy, this is not entirely rejecting industry, but offering creative alternatives. The fan-as-producer of Ghibli objects is doing so through convivial construction. Thus, this article offers new insights into global audience practices and affective meaning-making around Ghibli that goes beyond the films themselves.

AB - Whilst global hits such as Pokémon utilized what Marc Steinberg calls anime’s media mix, implementing a multiple-platform narrative world in an attempt to synergize/converge a franchise, what are we to do when one finds a dearth of official merchandise available to transnational audiences? What are the reasons or politics for such a decision that seems to run counter to a long sociocultural history of such media ecology? Equally as important, what do fans do when their championed fan objects offer a relatively restricted media palette? This article looks at how Studio Ghibli has, to a degree, negotiated and/or rejected the traditional ‘anime media mix’. This is not to say that Ghibli is void of media mixing; rather, via online communities, one has seen a growing presence of fan-crafts whereby audiences are making their own Ghibli objects. In doing so, these transcultural fan-made Ghibli objects extend fan ideologies linked to the studio, expanding on what Susan Napier terms ‘MiyazakiWorld’ (2006: 49, 2007: 193). Much like Miyazaki’s philosophy, this is not entirely rejecting industry, but offering creative alternatives. The fan-as-producer of Ghibli objects is doing so through convivial construction. Thus, this article offers new insights into global audience practices and affective meaning-making around Ghibli that goes beyond the films themselves.

KW - Studio Ghibli

KW - Cinema

KW - FILM

KW - Fandom

KW - Craft

U2 - 10.1386/eapc.4.1.93_1

DO - 10.1386/eapc.4.1.93_1

M3 - Article

VL - 4

SP - 93

EP - 109

JO - East Asian Journal of Popular Culture

JF - East Asian Journal of Popular Culture

SN - 2051-7084

IS - 1

ER -

ID: 3457621