Transnational Fan Communities

steampunk_icon_for_Safari_by_yereverluvinuncleber-d4zhax0Annett, Sandra. Animating Transcultural Communities: ?Animation Fandom in North America and East Asia from 1906–2010. Thesis. U of Manitoba, Winnipeg, Canada. 2011. Web. 6 June 2014.

These are the beginning of my notes from this text. For some reason, and I do not remember what it was, I separated my notes from this text into several sections. I’m going to post them here that way, so that, if there was in fact a good reason for it, I may remember it.

Even if I didn’t have a particular reason except length of notes, posting more readable lengths of notes is probably a good idea.

[I]t is in the intersections and conflicts between different uses of texts that transcultural fan communities are born. (Annett ii)

scholarly resources of globalization theory, which is primarily concerned with the kind of global exchanges and interconnections John Tomlinson describes as ?complex connectivity? (1999, 2). (Annett 2)

duelling banjos of oppression and resistance (Annett 3)

[T]he activity of a transcultural animation fan community allows the different perspectives of participants, who may not be equally positioned in terms of language ability or social status in a given collaboration, to come into conjunction—even into conflict—through a many-to-many forum of communication. The simultaneous mutuality and asymmetry of the engagement, as I will demonstrate, is what sets transcultural animation fan communities apart from earlier modes of animation fandom. (Annett 4)

How much agency do individual viewers have in their readings and social uses of texts, and how much are such uses directed by the institutional and economic structures of animation production and distribution? (Annett 9)

these theories of postmodern nostalgia is that in both ?imagined nostalgia? and ?imperialist nostalgia, there is an implicit promise that ?the commodity will supply the memory (Appadurai 78) of what was never lost, or that the ?loss is revivable? through pleasurable consumption (Iwabuchi 175).

method
I found participating in fan events to be both personally fulfilling and to result in more successful recruiting. For instance, when attending the fan conventions Ai- Kon in Winnipeg and Comiket in Tokyo, I joined in the anime subcultural practice known as ?costume play or ?cosplay?: that is, dressing up and taking on some of the attitudes of one‘s favourite anime (or manga, or game) character. Cosplay, as a social performance that allows fans of certain works to recognize each other instantly, greatly facilitated the recruiting process. (Annett 17)

RMCF (Rhetorical Memory Cosplay Fandom)

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