Dessins Animés

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

http://sainsbury-institute.org/news-events/legislating-manga-workshop/

This talk will explore the implications of the Prohibited Images of Children section of the Coroners and Justice Act 2009 for Boys' Love and Yaoi in the UK. The British legislation will be set in context briefly with regard to the legal situation in North America, Australia, Japan and China. Anna is Chair of Qualitative Inquiry in the School of Psychology at the University of Leeds and is author of 'Boys’ Love manga for girls: Paedophilic, satirical, queer readings and English law' in Children, Sexuality and Sexualisation (2015). Her online BL fandom survey can be found at https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey
Male–male sexuality is the central trope of Boys’ Love (BL) manga with stories tending to revolve around a central uke-seme (‘bottom’–‘top’) pair. Although focused on men, BL is produced and consumed primarily by women. This article presents, from an anglophone British perspective, analysis of age-stratified male–male romance – paederasty – as portrayed in BL. My corpus consists of 234 commercially-translated original Japanese BL manga stories, created by 100 different mangaka (author-artists), published commercially in English between 2003 and 2012. A total of 68 (30%) of these stories were identified as involving agestratified relationships, eight of which were selected for detailed analysis. Seven were selected for typicality: Waru (2007) by Yukari Hashida deemed the most typical. Fangs (2008) by Hiroki Kusumoto was also included in analysis as the most atypical age-stratified story in order to test the robustness of identified patterns. I argue that that, from an anglophone perspective, the characteristic themes of age-stratified BL map surprising well onto the eroticised intra-familial dynamics of Freud and the intra- and inter-familial economics of Lévi-Strauss. The patterns identified are evidenced and discussed under the following headings: the mother identified son, the doubly divested man, the castrated father, men on the market and the mother with the phallus. These themes help build and substantiate my argument that age-stratified BL might work, within an anglophone context at least, as a feminist critique of patriarchy through the mechanism of phallic divestiture.

This paper studies the role played by fansubbing groups in the distribution and translation of “hentai”, anime (Japanese animation) with pornographic content. The chapter starts by defining anime and hentai, then describes the main consumers of this medium, the otaku, as well as explaining how (hentai) anime is distributed online by human (the “otaku”) and non-human actors (bots, seeders and leechers). Afterwards, the article discusses fansubbing, the fansubbing of hentai, censorship in anime and hentai anime, and concludes with a critical analysis of two controversial hentai genres, lolicon and shotacon, pondering over the ethical aspects of the translation and distribution of this material. The author concludes that even if lolicon and shotacon are controversial genres, they should not be banned and its consumers should not be prosecuted. The reasons why people view these genres and, crucially, how and why they are translated and distributed, are more important and relevant aspects of study for scholars.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Researching Sex and Sexualities
University of Sussex 8-9th May 2015
Anna Madill for METHODOLOGIES STRAND

Abstract: Rotten girl on rotten girl: Boys’ Love ‘research’

‘Fujoshi’ (rotten girl) is a derogatory Japanese term for female fans of homoerotic manga and anime in the genre know as Boys’ Love (BL). BL is a global phenomenon and, overlapping with the male-male slash community, one of the largest, female-oriented erotic subcultures. I have underway, what is already, the biggest survey of the Anglophone fandom (https://leeds.onlinesurveys.ac.uk/blfandomsurvey) and have, so far, completed around 12 face-to-face and 30 e-mail interviews. This is the first project I have conducted on sexually explicit material and, although I consider myself to be a fujoshi, I am not, otherwise, a user of pornography/sexually explicit material. In fact, this research has presented a huge challenge to me in terms of becoming more comfortable discussing sexual topics and, even more personally, in making my own investment in MxM public. This has meant dealing with feelings of embarrassment and shame, but also of relief in finding and communicating with other women who have a similar erotic fantasy life. However, the project has also made me feel, at times, frankly paranoid because I have been afraid that my BL may contravene UK prohibited images of children legislation (it doesn’t!). What does BL represent for me that I am willing to put myself through this, spend most of my spare time on it, and, hence, is it really ‘research’?

Biography
Anna Madill is Chair in Qualitative Inquiry and Deputy Head of the School of Psychology, University of Leeds, and member of the university Centre for Interdisciplinary Gender Studies. She is Co-Founder and former Chair (2008-11) of the British Psychological Society Qualitative Methods in Psychology Section and is Associated Editor of the British Journal of Clinical Psychology. Anna received British Academy funding (2011-2013) for ‘Understanding Japanese Boys' Love manga from a UK perspective’ from which she has three book chapters in press, made 12 conference presentations (including a keynote) and many other presentations to academics and the public, and, in relation to which, she has been consulted by the BBC.

Anime, Japanese animation, is massive, with “60% of the animation in the world made in Japan” (Goto-Jones 2009, 3). Anime occasionally makes an innovative use of graphemes on screen, but this has not been studied so far. This study, then, describes and analyses how graphemes have been translated in anime, presenting a series of cases, but concentrating on three particular releases: Gurren Lagann, Kill la Kill, and Tōkyō Godfathers, products that feature a frequent and innovative use of graphemes in its anime. These graphemes are categorised into two types: (1) the ones that are part of the original anime and (2) the graphemes added in fansubbed anime. Much anime is fansubbed (subtitled by fans), and these fans are not constrained by the industry’s rules, meaning that they have complete liberty in subtitling, allowing for really creative forms of subtitling. Even if this freedom can sometimes be taken to the extreme—with subtitles covering the entire screen—fansubs have shown creative subtitling solutions, specially in the case of graphemes that cover a great part of the screen. After describing and analysing these graphemes and how they have been subtitled, this article concludes that, even if fansubs can frequently be excessive, they are at the fore of creativity, and present better solutions than official subtitles in the translation of graphemes in anime.

Yaoi/BL Fandom Survey (only takes 10 mins to complete): https://leeds.onlinesurveys.ac.uk/blfandomsurvey

Little Red Riding Hood is one of the best known fairy tales and its central villain - the wolf - a potent and recurring motif in contemporary popular culture, including Japanese manga. I am studying from a UK perspective a cluster of erotic manga genres (Boys’ Love or ‘BL’) which are produced and consumed predominantly by young women. The sine qua non of BL is the portrayal of romantic and sexual relationships between young men. Manga often presents characters as human-animal hybrids. Add to this the explicitly sexual nature of BL content, its homoerotic and transgressive themes, and the fact that it is created for and by young women, BL is interpretable as a site within which women are attempting to develop new ways of engaging with male sexuality. It is indicative of their psychological potency that European fairy tale motifs have been used as a vehicle in this project. The research question I will explore is: What happens when the fairy tale motif of ‘the girl and the wolf’ – that is, of the female’s initiation into the dangerous aspects of male sexuality – is queered? I will explore how this is presented in contemporary commercial BL manga, the readings this makes available, and the ways this might function for modern women. The explicit eroticism of BL invites a psychoanalytic interpretative lens. Specifically, the disjunction between the gender of the protagonists and audience makes pertinent a Kleinian understanding of defensive splitting and of projective identification. However, a purely psychoanalytic reading is possibly too individualistic and potentially pathologising, and I will draw also on queer theory to preserve my sense that BL can be read as exploring new ways of performing heterosexuality through the use of, often visual, metaphorical slippages and defamiliarisation. I will also pay attention to social and cultural context since I am studying ‘exotic’ texts in translation which are produced in a different legislative and socio-historico nexus.

De l’œuvre filmique d’Osamu Tezuka, l’Europe n’a guère connu et diffusé que les remakes en couleur, réalisés spécialement pour le marché d’exportation par Tezuka, dans la deuxième moitié de sa carrière. L’ouvrage, de 300 pages et illustré d’une trentaine de planches, présente et analyse les dessins animés originaux qui inaugurèrent l’ère télévisuelle dans les années 1960. Ce « moment fuyant » que Tezuka a su capter correspond bien sûr aux états arrêtés de ses personnages, saisis par le dessin dans un moment d’effroi, de stupeur ou de plaisir ; c’est aussi le boom de la télévision, en plein développement dans le Japon d’après-guerre.

RIELMA-Revue Internationale d'Études en Langues Modernes Appliquées (InternationalReview Of Studies In Applied Modern Language), numéro 3 (2010),

The present article is an analysis of the strategies adopted in the translation of names in different languages. The theoretical framework is provided by the E. Coseriu’s writings on translation with a special focus on the “uses of the non-canonical linguisitc signs”. The corpus we use in our analysis consists in the collection of the French cartoons Asterix and Obelix

https://lett.ubbcluj.ro/rielma/RIELMA_no3_2010.pdf

De l’œuvre filmique d’Osamu Tezuka, l’Europe n’a guere connu et diffuse que les remakes en couleur, realises specialement pour le marche d’exportation par Tezuka, dans la deuxieme moitie de sa carriere. L’ouvrage, de 300 pages et illustre d’une trentaine de planches, presente et analyse les dessins animes originaux qui inaugurerent l’ere televisuelle dans les annees 1960. Ce « moment fuyant » que Tezuka a su capter correspond bien sur aux etats arretes de ses personnages, saisis par le dessin dans un moment d’effroi, de stupeur ou de plaisir ; c’est aussi le boom de la television, en plein developpement dans le Japon d’apres-guerre.

As animações japonesas, também conhecidas como animes, são populares produções audiovisuais no ocidente, especialmente no Brasil. Criadas para públicos de diferentes idades e abordando temáticas diversas, os animes tornam-se interessantes fontes de pesquisa para se compreender discursos e representações veiculadas socialmente. Neste sentido, o presente artigo propõe analisar de que forma um ideal de justiça é representado no anime Death Note  (a partir do personagem Light Yagami) que possui um envolvente enredo relativo a questões como assassinatos e vingança. Assim, visto que a junção entre imagem e sons é crucial para os efeitos de impacto na audiência do anime, utilizaremos a teoria da audiovisão  proposta por Michel Chion, no intuito de demonstrar como tais elementos geram significados conjuntamente, de forma a complementar sentidos e direcionar a percepção dos espectadores.

Résumé : La nouvelle « Cat ‘N’ Mouse » (Dangerous Laughter, 2008), de l’auteur américain Steven Millhauser, est une transposition littéraire du célèbre cartoon Tom and Jerry. En créant un « cartoon linguistique », l’auteur attire l’attention du lecteur sur l’étrangeté du cartoon et met à jour l’aspect violent de la dimension cathartique du rire et des images. D’autre part, à travers le prisme des mots et à travers la dynamique de l'intersémioticité, un objet culturel de masse se trouve transformé en une expérience singulière sur la capacité du langage et de l’écriture à se hisser au domaine des sons, des images et de leur animation.

Abstract: The short story “Cat ‘N’ Mouse” (Dangerous Laughter, 2008), by the American novelist and short story writer Steven Millhauser, is a literary transposition of the animated cartoon films Tom and Jerry. As he creates a “linguistic cartoon,” the author draws the reader's attention to the strangeness of the animated cartoon, revealing the violent, cathartic dimension of laughter at work in the films. Moreover, through the prism of words and through the process of intersemioticity, a mass cultural product is transformed into a unique experience on the ability of language to ascend to the realm of sounds, of images and of their animation.