By Sandra Annett (auth.)
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Extra info for Anime Fan Communities: Transcultural Flows and Frictions
This chapter also demonstrates, however, that working through such frictions in an online forum allows for mutual, if sometimes asymmetrical, cultural exchange. The process of interpreting animation seen here is productive and in fact constitutive of transcultural community. Chapter 6, “World Conflict/World Conference: Axis Powers Hetalia,” illustrates how earlier ideas of media and community are both reified and transformed within the visual environment of the media mix. ), by Himaruya Hidekaz.
In fact, feature-length animated filmmaking was well underway by 1941 in Argentina (The Apostle, 1917), Germany (The Adventures of Prince Achmed, 1926), the Soviet Union (The New Gulliver, 1935), and China (Princess Iron Fan, 1941), to name just a few. If shorts are included, then it is practically guaranteed that most CARTOON INTERNATIONALE 33 audiences across the developed world saw their own animated productions and those of neighboring nations before 1941, alongside various works by major and minor American studios.
Part I Animation and the Miraculous Cinema 1 Cartoon Internationale R ather than ask at what point film became a global medium, it is perhaps more pertinent to ask: was there ever a point at which film was not a global medium? A quick survey of film history reveals that moving picture technologies were themselves internationally mobile from their inception. Supported by the vast networks of imperial trade established by the end of the nineteenth century, Edison’s Kinetoscope and the Lumière brothers’ cinématographe spread with a speed and scope that remain impressive today.
Anime Fan Communities: Transcultural Flows and Frictions by Sandra Annett (auth.)