Anime: Transforming American Pop-Culture
The modern age of Anime arrived in Japan in the 1960s, and over the course of the next decade or so boomed into the giant robot, space battle genre bender that we would soon recognize as the anime of today. Evolving over the next 30 years or so, it reached a peak where it could begin to overtake and become an integral part of other cultures, much like the Hollywood of the 1930s quickly grew to encompass the rest of the world and inform their pop culture. In the same manner, American pop culture becomes increasingly educated by the trends and cult response to anime.
Anime first appeared in the US market in the 60s with shows like Kimba the White Lion and Astroboy. However, the national consciousness as to where these shows came from as well as the poor marketing of the shows made them forgettable and rather than a jumping in point, they act as a nostalgic reminder. When Speed Racer arrived, the beginnings of a true consciousness that Japan was creating something new and exciting began to set in. The popularity of Speed Racer was never that of its American equals, but it created in a set fanbase the willingness to devour newer offerings later on in Starblazers and Robotech (O’Connell). Still, the affect was mostly underground. In the 1980s, the introduction of VHS made it possible to join together with friends and watch more varying forms of anime. Truly, it was the technological revolutions of the coming years that would make it truly possible for anime to puncture the American entertainment bubble. When Akira arrived in 1989, the effect was clear. Receiving only a limited American screen release, few saw it in initial release, but the copying of VHS tapes and word of mouth made it something of a cult sensation. Those that knew of Akira were fans for life, eagerly awaiting their chance to contribute more and more to the growing trends out of Japan (The Right Stuf International).
In 1995, the release of the shows in America along with the premiere and rave
Anime first appeared in the US market in the 60s with shows like Kimba the White Lion and Astroboy. However, the national consciousness as to where these shows came from as well as the poor marketing of the shows made them forgettable and rather than a jumping in point, they act as a nostalgic reminder. When Speed Racer arrived, the beginnings of a true consciousness that Japan was creating something new and exciting began to set in. The popularity of Speed Racer was never that of its American equals, but it created in a set fanbase the willingness to devour newer offerings later on in Starblazers and Robotech (O’Connell). Still, the affect was mostly underground. In the 1980s, the introduction of VHS made it possible to join together with friends and watch more varying forms of anime. Truly, it was the technological revolutions of the coming years that would make it truly possible for anime to puncture the American entertainment bubble. When Akira arrived in 1989, the effect was clear. Receiving only a limited American screen release, few saw it in initial release, but the copying of VHS tapes and word of mouth made it something of a cult sensation. Those that knew of Akira were fans for life, eagerly awaiting their chance to contribute more and more to the growing trends out of Japan (The Right Stuf International).
In 1995, the release of the shows in America along with the premiere and rave
References: Clark, Mark, Jr. “Toonami History Lesson.” The Toonami Xperience. Online. Available: http://www.geocities.com/animecentral1/toonamihistory.html Gardiner, Debbi. 2003. “Anime in America” Business Services Industry Online. Available: http://findarticles.com/p/articles/mi_m0NTN/is_2003_Jan/ai_104732914 O’Connell, Michael. 1999. “A Brief History of Anime.” The Anime/Manga Web Essays Archive. Online. Available: http://www.corneredangel.com/amwess/papers/history.html The Right Stuf International, Inc. (TRSi). 1997. “History of Anime in the US.” The Right Stuf International, Inc. Web Site. Online. Available: http://www.rightstuf.com/resource/ushistory.shtml.