Course Final Project

PART I: Essays. I will select 3 of the following questions, and from those, you will choose 2 to answer. (NOTE: you will write 2 essays.) (30 pts each)

What I’m looking for: Does your essay show that you understand the question and have you answered the question completely? Accurately? With specific references to the readings for each example? (And not just vague summaries that could be written by someone who didn’t do the readings/screenings?) In a well-constructed essay? That shows evidence of thought? Does your answer show that you have read or watched the material and understood it? (Hint: short pull quotes strengthen your argument)

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1. Ito Kimio said, “One of the hallmarks of today’s consumer society is that people maintain a certain amount of distance from each other while using popular culture to mediate interactions and make friends.” First explain what this means in the context of his statement: what is he making an argument about? (Paraphrasing is ok; citing him is better.) Compare his argument with Galbraith’s on fujoshi: how are they similar and/or different. (Again, be specific; this is the intro paragraph.) Then, discuss TWO works from our class that address these ideas. Have a thesis.

Summer Wars (Hosoda Mamoru, 2009) – https://share.icloud.com/photos/0v35lwd7Q45LNPQOK-PIt7Ukw
-Patrick W. Galbraith, “Fujoshi: Fantasy Play and Transgressive Intimacy among ‘Rotten Girls’ in Contemporary Japan,” Signs, Vol. 37, No. 1 (September 2011): 219-240.
-Patrick W. Galbraith, The Moe Manifesto: An Insider’s Look at the Worlds of Manga,
Anime, and Gaming (Tokyo, Rutland, Vermont: Tuttle Publishing, 2014), 24-45.

– Anne Allison, “Pocket Capitalism and Virtual Intimacy: Pokémon as Symptom of Post-
Industrial Youth Culture,” in Figuring the Future: Globalization and the Temporalities of Children and Youth, edited by Jennifer Cole and Deborah Durham (Santa Fe, NM: School for Advanced Research Press, 2008), 179-195.

2. Allison writes: “Generically referred to as shōjo [girl], this has been the figure most associated with consumer culture. Assumed to bear the fewest responsibilities and pressures to be socially productive, the shōjo (as both subject and object) has come to stand as the counterweight to the enterprise society: a self-indulgent pursuer of fantasies and dreams through consumption of merchandise” (“Fierce Flesh,” 139). Use Sailor Moon to illustrate and explain Allison’s point. Then analyze TWO works (cultural or critical/theoretical are ok) that push back on or amplify this idea. Have a thesis.

https://www.viz.com/watch/streaming/media/sailor-moon-episode-92/7333/sub
https://www.youtube.com/watch?v=6TQFlVcPyUA
Anne Allison, “Fierce Flesh,” Millennial Monsters: 128-162); focus: 128-134.
Helen McCarthy, A Brief History of Manga, pp 58-91 (1991-2013)
Read TAKEUCHI Naoko, Sailor Moon (1992~) (Kodansha Comics, 2011), Volume 1. (Entire book)
Anne Allison, “Fierce Flesh,” Millennial Monsters: 128-162); focus: 128-134.

3. Your friend says, “Otaku are cool.” How do you respond? Start by explaining the origins of the term and how it changed through the 1990s by citing at least TWO SOURCES from our class. Then, explain whether you agree, disagree, or modified agreement/disagreement. Give three specific examples as evidence; these could come from critical essays or creative works (manga/anime) from our class. Have a conclusion.

-Higashimura, Princess Jellyfish – PDF
-Patrick W. Galbraith, “Fujoshi: Fantasy Play and Transgressive Intimacy among ‘Rotten Girls’ in Contemporary Japan,” Signs, Vol. 37, No. 1 (September 2011): 219-240.
-Patrick W. Galbraith, The Moe Manifesto: An Insider’s Look at the Worlds of Manga,
Anime, and Gaming (Tokyo, Rutland, Vermont: Tuttle Publishing, 2014), 24-45.

– Anne Allison, “Pocket Capitalism and Virtual Intimacy: Pokémon as Symptom of Post-
Industrial Youth Culture,” in Figuring the Future: Globalization and the Temporalities of Children and Youth, edited by Jennifer Cole and Deborah Durham (Santa Fe, NM: School for Advanced Research Press, 2008), 179-195.

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