Anime tourism

Discursive construction and reception of the Studio Ghibli Art Museum

Bibliographic Data

ID6194597
AuthorsRayna Denison (0000-0002-7957-4618, University of East Anglia, corresponding author)
Year2010
Volume22
Issue3-4
Pages545-563
Publication date2010-12-16
Open AccessNo
TypeARTICLE
VenueJapan Forum (JOURNAL)
Journal identifiersISSN: 0955-5803 • E-ISSN: 1469-932X
PublisherInforma UK Limited (PUBLISHER • GB)
DOI10.1080/09555803.2010.533475
OpenAlexW1968577475
LanguageEN
Citations received10
References cited18

Anime tourism has been an important phenomenon within Japanese culture for the past decade. The signs of this global tourism can be read in the growing number of museums and theme parks in Japan dedicated to the history, and contemporary global success, of anime culture. However, the reputed aims and forms of these entertainment venues varies wildly, with some anime companies choosing to venerate animators, as with the Osamu Tezuka Museums in Kyoto and Takarazuka, while, alternatively, others are adopting theme park aesthetics, as with Sanrio Puroland. A common denominator among these anime venues is, however, an attempt extend the life and value of their products. The article argues that the Studio Ghibli Art Museum is an attempt to rebrand their hit films as ‘art’ products, but that the responses of the museum's international users display a tendency to perform a resistant tourist and consumerist gaze within the museum space. This article is an attempt to delve into the complex relationship between anime producers and global consumers, viewing the museum space as one in which the cultural meanings of anime are put to the test

Aesthetics · Anime · Archaeology · Art · Entertainment · Hybridity · Media studies · Sociology · Space (punctuation) · Studio · Theme (computing) · Theme park · Tourism · Visual arts · World Wide Web · Anthropology · Asian Culture and Media Studies · Computer Science · History · Japanese History and Culture · Socioeconomic Development in Asia

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