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200 00$aUser enhanced$b[electronic resource] /$fFrenchy Lunning, editor
210   $aMinneapolis $cUniversity of Minnesota Press$d2011
215   $a1 online resource (336 p.)
225 1 $aMechademia ;$v6
300   $aDescription based upon print version of record.
311   $a0-8166-7734-4 
320   $aIncludes bibliographical references.
327   $aCover; Contents; Introduction; Countering Domestication; Under the Ruffles: Shojo and the Morphology of Power; Girliness Next to Godliness: Lolita Fandom as Sacred Criminality in the Novels of Takemoto Novala; Beyond Domesticating Animal Love; Exploited and Mobilized: Poverty and Work in Contemporary Manga; Commodity-Life; Tezuka Is Dead: Manga in Transformation and Its Dysfunctional Discourse; How Characters Stand Out; Manga Translation and Interculture; Speciesism, Part III: Neoteny and the Politics of Life; Photo Play; Out of the Closet: The Fancy Phenomenon; Desiring Economies
327   $aAnatomy of Permutational Desire, Part II: Bellmer's Dolls and Oshii's GynoidsDesire in Subtext: Gender, Fandom, and Women's Male-Male Homoerotic Parodies in Contemporary Japan; The Sacrificial Economy of Cuteness in Tamala 2010: A Punk Cat in Space; Flower Tribes and Female Desire: Complicating Early Female Consumption of Male Homosexuality in Shojo Manga; Untimely Effects; Transformation of Semantics in the History of Japanese Subcultures since 1992; The Logic of Digital Gaming; Tsuge Yoshiharu and Postwar Japan: Travel, Memory, and Nostalgia
327   $aImplicational Spectatorship: Hara Setsuko and the Queer JokeReview and Commentary; War for Entertainment: The Sky Crawlers; Volition in the Face of Absurdity; The Past Presents the Future: Toward the Terra; Torendo; Wherein the Author Documents Her Experience as a Porcelain Doll; Contributors; Call for Papers
330   $aManga and anime inspire a wide range of creative activities for fans: blogging and contributing to databases, making elaborate cosplay costumes, producing do?jinshi (amateur) manga and scanlations, and engaging in fansubbing and DIY animation. Indeed, fans can no longer be considered passive consumers of popular culture easily duped by corporations and their industrial-capitalist ideologies. They are now more accurately described as users, in whose hands cultural commodities can provide instant gratification but also need to be understood as creative spaces that can be inhabited, modified, and 
410  0$aMechademia ;$v6.
606   $aAnimated films$zJapan$xHistory and criticism
606   $aAnimated television programs$zJapan$xHistory and criticism
606   $aVideo games$zJapan$xHistory and criticism
606   $aComic books, strips, etc$zJapan$xHistory and criticism
606   $aPopular culture$xJapanese influences$vPeriodicals
615  0$aAnimated films$xHistory and criticism.
615  0$aAnimated television programs$xHistory and criticism.
615  0$aVideo games$xHistory and criticism.
615  0$aComic books, strips, etc.$xHistory and criticism.
615  0$aPopular culture$xJapanese influences
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