Abstract
In the last decades, the words manga and anime have become part of our everyday language, no longer requiring further clarifications. Meanwhile, in recent years, a worldwide phenomenon has intensified: film locations from famous fiction TV dramas and blockbusters have become touristic hotspots. Manga and anime are not oblivious to this boom. The depiction of rich and detailed world-settings is one of the foundations of manga and anime, coded within their DNA. A well-built world-setting enables the connection between the reader/spectator and the story being told (Kelts, 2006). On top of that, the fact that Japan is indeed a real place beyond manga and anime’s fictional locations provides a new level of meaning to the stories in both media. Over the last years, the Japanese government, as well as regional and local councils, have begun to benefit from the touristic potential of manga and anime under the umbrella of “Cool Japan”, the national branding campaign addressed by the government in the early 21st century. This paper will address how this phenomenon develops within the Cool Japan campaign.
Highlights
El medio japonés por antonomasiaLas voces manga, anime y otaku[2] han pasado a formar parte del lenguaje habitual, sin necesidad de aclaraciones previas
In the last decades, the words manga and anime have become part of our everyday language, no longer requiring further clarifications
En los últimos años se ha acentuado en todo el mundo un fenómeno —que si bien no es nuevo— ha resultado en la explosión turística de localizaciones ligadas a series de ficción y producciones de éxito de cine y televisión
Summary
Las voces manga, anime y otaku[2] han pasado a formar parte del lenguaje habitual, sin necesidad de aclaraciones previas. Deseo subrayar el papel del manganime dentro de la estrategia de branding cultural Cool Japan centrándome en lo que a mi entender son tres graves errores de aproximación a ambos medios: la ausencia de las opiniones de los aficionados occidentales como parte de la iniciativa gubernamental, al no tener en cuenta sus puntos de vista; el desarrollo de un mapa de lugares de peregrinación limitado y ajeno a buena parte de los intereses reales de los fans, obviando los mecanismos de distribución de manga y anime en los respectivos países; y por último, la incapacidad para reconciliar lo local y lo global en el presente contexto transcultural
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