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Manga Movies: Contemporary Japanese Cinema, Media Franchising and Transnational Adaptation

漫画电影：当代日本电影、媒体特许经营和跨国改编

基本信息

批准号：
AH/H034099/1
负责人：
Rayna Denison
金额：
$ 18.45万
依托单位：
University of East Anglia
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2011
资助国家：
英国
起止时间：
2011 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH034099%2F1
关键词：
Manga Movies Contemporary Japanese Cinema

项目摘要

Manga, or Japanese comic books, are increasingly becoming the source materials for, not just Japanese, but global cinema. Recent anime (Japanese animation) and manga remakes in Hollywood, and in transnational cinema, have become increasingly high profile, including Dragonball Z, Speed Racer and Blood: The Last Vampire, plus the announcements of American Akira and Death Note remakes, all by well-known producers. As manga cultures become increasingly prominent in global film cultures questions remain about the impact of manga on visual culture in Japan and beyond. In fact, there is relatively little work on the importance of manga and anime to the Japanese film industry, and even less on the impact those media are having on a transnational scale. The project will therefore be formed of two parts: first, an examination of manga media cultures in Japan; and, second, an examination of manga and anime's adaptations for the global marketplace. These two parts will work in concert, attempting to bridge gaps in understanding about Japanese 'soft power' as a global phenomenon, while building on current work that discusses the success of Japanese media products at home and abroad.Consequently, this project seeks to investigate the ways in which manga are used as source texts for Japanese film culture, beginning with an examination of media franchising and manga-to-live-action-film adaptations in Japan. Manga provides the origins for an incredible range of films in Japan, from anime to live action blockbusters to art and cult cinema and yet, its influences on, and history in, Japanese film is relatively unmapped and under-discussed, something this project will aim to address. Indeed, manga tend to form origin points for large multi-media franchises in Japan, a phenomenon which has yet to be investigated in English-language academic work. Doing so would enable a better understanding both of the Japanese film industry, and of the ways in which Japanese media are produced and used in their domestic setting. The project will therefore use case study manga texts to examine the circumstances under which manga are adapted into franchises, and will offer assessments of the most significant forms of inter-media adaptation present in the Japanese market.Beyond Japanese borders too, the recent global visibility of Japanese anime and manga has seen a variety of borrowings from both classic and newer manga and anime sources. These film adaptations, normally live action but with a heavy emphasis on digital technologies, are offering interesting challenges to Western genres and audiences, especially in filmmaking for children, while also challenging conceptualisations of how digital technologies can and should be used. High profile, relative failures like the Dragonball Z and Speed Racer films offer potential insights into the problematic nature of translating Japanese manga and anime into live-action film, particularly around the use of digital technologies to bridge the gaps between Japanese and American culture. Moreover, the reasons for the choices of manga and anime sources by contemporary American filmmakers will be analysed, as will fan responses to their adaptations, in order to investigate what is at stake for the American and other film industies in adapting manga and anime products. The project will result in the production of a series of journal articles (which it is envisaged will later form the first two sections of a co-authored monograph), while also providing the impetus for manga and anime related events to take place in Norwich (and potentially London) and reports to be sent to industry and various other institutions. A central aim of the project is to provide useful outputs that cut across the divides between industry and the academy, thereby engaging as many potential beneficiaries as possible.

日本漫画书正日益成为不仅是日本电影，而且是全球电影的素材。最近的动画（日本动画）和漫画翻拍在好莱坞，并在跨国电影，已成为越来越高的知名度，包括龙珠Z，速度赛车和血：最后的吸血鬼，加上美国阿基拉和死亡笔记重拍的公告，所有知名制片人。随着漫画文化在全球电影文化中日益突出，关于漫画对日本及其他地区视觉文化的影响的问题仍然存在。事实上，关于漫画和动漫对日本电影业的重要性的研究相对较少，关于这些媒体在跨国范围内的影响力的研究更是少之又少。因此，该项目将由两个部分组成：第一，审查日本的漫画媒体文化;第二，审查漫画和动画适应全球市场的情况。这两个部分将相互配合，试图弥合对日本“软实力”作为一种全球现象的理解差距，同时以目前讨论日本媒体产品在国内外的成功的工作为基础。因此，本项目旨在调查漫画如何被用作日本电影文化的源文本，首先是对日本媒体特许经营和漫画改编真人电影的研究。漫画为日本一系列令人难以置信的电影提供了起源，从动漫到真人大片，再到艺术和邪教电影，然而，它对日本电影的影响和历史相对来说还没有被描绘出来，也没有被充分讨论，而这个项目的目标是解决这个问题。事实上，漫画往往是日本大型多媒体特许经营的起源点，这一现象尚未在英语学术著作中进行研究。这样做将有助于更好地了解日本电影业，以及日本媒体在其国内环境中的制作和使用方式。因此，该项目将使用个案研究漫画文本来研究漫画改编成特许经营权的情况，并将对日本市场上最重要的跨媒体改编形式进行评估。在日本境外，日本动漫和漫画最近在全球的知名度也从经典和更新的漫画和动漫来源中得到了各种借鉴。这些电影改编，通常是真人表演，但非常强调数字技术，为西方类型和观众提供了有趣的挑战，特别是在儿童电影制作方面，同时也挑战了如何使用数字技术的概念。像《龙珠Z》和《极速赛车手》这样备受瞩目的相对失败电影，为将日本漫画和动漫翻译成真人电影的问题本质提供了潜在的见解，特别是围绕使用数字技术弥合日本和美国文化之间的差距。此外，将分析当代美国电影制片人选择漫画和动漫来源的原因，以及粉丝对其改编的反应，以调查美国和其他电影业改编漫画和动漫产品的利害关系。该项目将产生一系列期刊文章（预计以后将形成一本共同撰写的专著的前两部分），同时还将推动在诺维奇（可能还有伦敦）举办与漫画和动画有关的活动，并向业界和其他各种机构发送报告。该项目的一个中心目标是提供有用的产出，跨越工业界和学术界之间的鸿沟，从而吸引尽可能多的潜在受益者。