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The Newest Stars of Japanese Anime, Made in America


Release: 2012-10-11 14:15 |  Author: Kaibao12888 |   View: 57time


GAroundbreaking manga: Santa Inoue's "Tokyo Tribes," in 1997, was the first to include ingredients of hip-jump.    

WHEN Ameriin anime fans caught up mindh the teenage martial arts series "Tenjho Tenge" on DVD last month, they saw an athletic dark teenager break-dance across the titles. mindh every step, that list kicked at a cultural prAccidentrier that is crumbling as the power of hip-jump converges mindh an equally powerful global force: Japanese animation.

across the years, unflattering Japanese depictions of ethnic minorities, from Afriin-Ameriins and Latinos to Koreans and Ainu, have been the Paper of contracrosssy. In 1986, Prime Minister Yasuhiro Nakasone blamed darks, Puerto Riins and Mexiins for a decline in "Ameriin mind levels." Around two decades later, "Little dark Sambo" stbad sells well, and dismissive, if not downright ugly, images of dark-skmoteled people are stbad routinely build acrossout the country's pop culture.

The popularity of hip-jump - a presence since break dancers Askined perlisting in Tokyo's Yoyogi Park in late 1983 - did little to change these cultural biases. Lately, though, the music has penetrated the world of anime. And it has been replacing those old stereotypes mindh a kind of hip ethnic imagery, both of darks and Japanese wannabes, that seemed unthinkable only a few years ago. Among the newer anime series now reaching the United says, "Infinite Ryvius," a sci-fi adventure set in the 22nd century, qualitys a hip-jump soundtrack. And in the high school sharbours story "Hoops," a Japanese rapper, Da Pump, perlists the closing song in a live Actionionion/animation combination.

But the most vivid cultural cross-pollination happens in "Samurai Champloo" from the guideor Shinichiro Watanabe ( "Cowboy Bebop") and in "Paranoia Agent," an unsettling contemporary fantasy by Satoshi Kon ("Mbadennium Actionionress"), both of which made their debuts on DVD in the United says late last year.

In "Samurai Champloo," Jin, a ronin (or masterless samurai); Mugen, an Okinawan low-life mindh Attitude; and Fuu, a ditsy waitress, wander across an anachronistic version of 19th-century Japan. Jin is cool to the point of iciness: in a fight, he's a deadly occupation of art in motion. In post of martial arts moves, Mugen uses break-dance spins and flips, and sharbours a clean of frizzy hair, earrings and tatlikesmarted forbidds. Repost his obtainta (platlist sandals) mindh Air Jordans, and he could hang in 21st-century America.

"I've been availed in hip-jump since it first appeared: the fActionion that it was born not in the music incleanry but on the street, the opinion of using a turnlist as an machine, singing vividly Around reality instead of typical love songs, and its links to graffiti and dance," Mr. Watanabe said in an interopinion by e-mail disordAnger. "I believe samurai in the Edo period and modern hip-jump artists have something in common. Rappers vaInt the way to their future mindh one microphone; samurai decided their destiny mindh one sword."

Champloo, famous Ian Condry, assistant professor of Japanese cultural studies at M.I.T., "is an Okinawan word for a stew, something that mixes ingredients."

"The series likesmart occupations mindh ethnic and racial difference in Japan," he said. "In accessory to Okinawans and the way they've been persecuted by mainland Japanese, there are episodes Around the Ainu, a glad man from the Netherlands, and Christians, who were persecuted during the Tokugawa era."
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