Anime’s Media Mix: Franchising Toys and Characters in Japan

Index

Index· 287 Abe, Susumu, 217n70 abstraction of commodity, 129, 240n100 accumulation, regimes of, 155–56, 196–97; ideal-type commodity form of, 156–60 “Acinema” (Lyotard), 3–5 action toys (katsudō gangu), 124 Adventures of Little Shō, The (Shōchan no bōken), 93 advertising: campaign accompanying release of Kadokawa films, 151, 152; centrality of advertisement as cultural form, 154; development of site-specific advertising outlets, 165–66; during Fordist era, 197; historic practice of, 136; for Marble Chocolates, 47, 48–49; paperback as advertising medium, 150; recognition of multiple avenues of, 139; shift in relation between commodities and, ix; sticker as a means of, 87; “synthetic” use of media toward particular goal, 139; total marketing campaign, 49. See also marketing media mix Advertising Meeting (Senden kaigi), 87, 139, 140, 226n54, 241n7 affect-laden character goods, proliferation of, 81–82 affordances, theory of, 239n87 Aglietta, Michel, 155, 197, 248n63 Aihara, Hiroyuki, 223n18 Akadō Suzunosuke, 71–72; ads for Akadō products, 72, 73; disjuncture between manga image and filmic image of, 72; manga, 102–3, 108; popularity of, 229n86; radio series, 103, 108, 229n81–82, 229n86, 229n89; TV series, 108 Akadō Suzunosuke sword, 102–3, 104, 110, 236n56 Akita, Takahiro, 214n30, 221n102, 237n72 Akiya, Shigeo, 224n26, 250n97 Akiyama, Masami, 97, 234n32 Allison, Anne, viii, 81, 158, 191, 209n5, 212n19, 230n96, 233n17, 240n1, 248n79 Alt, Matt, 238n86 Altman, Rick, 164, 250n99 Amazing Lives of Fast Food Grifters, The (Tachiguishi retsuden, 2006) [Oshii Mamoru], 202 American TV cartoons, 11 Anderson, Christopher, 211n15, 250n101 animal manga characters, 97, 234n33 288 · Index animated television commercials, 11– 13, 215n39; techniques developed in, 12–13; trademark characters, 13 animation: anime shock, 17–20; definitions of, 1–2; emergence of animetic movement, 13–17; founding fathers of Japanese, 213n27; full, 2, 5, 8–9, 16, 17–20, 213n26; manga and, 1930s and 1960s compared, 214n30; recouping costs of production, 39–40, 222n3–4; shorts, 11, 94, 95, 214n30; two streams of, in Japan, 7–13 anime: anime shock, 17–20; animetic movement, emergence of, 13–17; appeal to young adults, 247n59; associated media forms, viii; characteristics of, 8; character merchandising embedded at very core of, 40; demographic, shift in, 259n102; development at Mushi Production, 9, 10–11; as distinct form of limited animation, 3, 5, 17; dynamically still image as aesthetic precursor to, 33; emergence of, viii, ix; emergence of, media contexts of, 20–36; expanded interval as essential element of movement in, 32–33; explosive popularity of, 34; as intermedia, 17; as kamishibai plus alpha, 18, 20, 35; limiting movement and inventing, 33–36; “midnight anime” television time slots, 260n102; “positive unconscious” of, 35, 221n103; sources of stylistic and technical inspiration for development of, 9–13, 244n32; specificity of, ease in developing transmedia connections and, xiii–xiv; storyboard theater as outer limit of, 14, 20; television and production of, 10, 214n31; Tsugata’s definition of, 8; use of term, viii–ix, 214n34. See also dynamically immobile character image Anime Machine, The (Lamarre), 6 anime media mix, 141, 168, 241n4, 243n21, 246n54; character–world relation in, 200; continuous, serial consumption across media texts, 152; environmentalization of character image and rise of, 168; extension into film and literature, 149–53, 154, 245n37, 247n56; key features, 148, 182–83, 244n33; marketing media mix and, similarities and differences between, 141–42; post-Fordist experiential commodities offered in, 158; synergy in, 141–42, 143; from Tetsuwan Atomu to Suzumiya Haruhi, 142–49; transformations characterizing, 169 anime system: character merchandising and, ix; concepts of media and, x–xi; Disney’s influence on formation of, xii– xiii, 215n45, 222n6, 233n18, 250n101; emergence of (1963), 139; emergence of (1963), as tipping point in postwar Japanese visual culture, xiii, xvi–xvii, 108; Kadokawa media mix as extension of, 153, 171; mode of communication within, 132; overlaps with global transformations of capitalism, x; use of term “system,” 210n9 animetic interval, 6, 7, 213n22 animetic movement, emergence of, 13–17 Anti-Oedipus (Deleuze and Guattari), 175 army manga, 97 art toys, 202 Arvidsson, Adam, x, 190–91, 210n11, 212n18, 255n37, 257n62, 259n92 Asahi sono sheet records, 145 Index · 289 Asakusa Toys, 114–17, 118 Asō Yutaka, 93 association: brand working through logic of, 191; omake–product relation of, 58–63 Astro Boy. See Tetsuwan Atomu (manga); Tetsuwan Atomu (television series, 1963–66) Atomization: of Meiji, 54–64; of objects by stickers, 80–81 Atomu Chotokkyu (Atomu Super Express), 117, 120 Atomu goods, 107–11, 228n77. See...