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• 1 The history of Manga, Japanese traditional drawing art, is based on ancient times. In the 19th century, manga became modernized and in the 20th century emerged as an alternative to the Western-style comic. Any category in life can be a subject of manga. In this respect, manga is not only specific to children; a significant number of adults are interested in manga as well. Anime is animated version of manga. The anime industry, which emerged as an alternative to Disney in the 20th century, has its own artistic style. This study does not consider manga and anime as separate categories. In the “Substantial Place of Anime and Manga in Cool Japan” section, anime’s and manga’s history and definition is discusssed in detail.
• 2 Eriko Yamato, “‘Growing As a Person’: Experiences at Anime, Comics, and Games Fan Events in Malaysia”, Journal of Youth Studies, Vol. 19, No. 6 (October 2015), pp. 743-759.
• 3 Zilia Papp, Anime and Its Roots in Early Japanese Monster Art, Tokio, Global Oriental, 2010.
• 4 Rayna Denison, “Transcultural Creativity in Anime: Hybrid Identities in the Production, Distribution, Texts and Fandom of Japanese Anime”, Creative Industries Journal, Vol. 3, No. 3 (2010), pp. 221-235.
• 5 Takeshi Okamoto, “Otaku Tourism and the Anime Pilgrimage Phenomenon in Japan”, Japan Forum, Vol. 27, No. 1 (2015), pp. 12-36.
• 6 Takeyasu Ichikohji, “The Influence of Introducing IT into Production System: A Case of Japanese Animation (Anime) Industry”, Annals of Business Administrative Science, Vol. 12, (2013), pp. 181-197.
• 7 Joseph Nye, Power in Global Information Age, London, Routledge, 2004, pp. 1-3.
• 8 Ibid.
• 9 Ibid., p. 5.
• 10 Ibid., pp. 4-5.
• 11 Joseph Nye, Bound to Lead: The Changing Nature of American Power, New York, Basic Books, 1991.
• 12 Joseph Nye, “Soft Power’’, Foreign Policy, No. 80 (Autumn 1990), pp. 153-171.
• 13 Joseph Nye, “The Changing Nature of Power in World Politics”, Political Science Quarterly, Vol. 105, No. 2 (1990), pp. 177-192.
• 14 Nye, Power in Global Information Age, pp. 55-56.
• 15 Joseph Nye, Soft Power: The Means to Success in World Politics, New York, Public Affairs, 2004, pp. 16-18.
• 16 Joseph Nye, The Paradox of American Power: Why the World’ Only Superpower Can’t Go It Alone, New York, Oxford University Press, 2002, pp. 51-52.
• 17 Ibid., p. xvi.
• 18 Joseph Nye, The Powers to Lead, New York, Oxford University Press, 2008, p. 31.
• 19 Joseph Nye and John Donahue (eds.), Governance in A Globalizin World, Washington D.C., Brookings Institution Press, 2000, p. 25.
• 20 Nye, Power in Global Information Age, pp. 76-77.
• 21 Joseph Nye and David Welch, Understanding Global Conflict and Cooperation: Intro to Theory and History, Edinburgh, Pearson, 2014, pp. 52-53.
• 22 Joseph Nye, The Future of Power, New York, Public Affairs, 2011, p. 116.
• 23 Wada Suichi, “Article Nine of the Japanese Constitution and Security Policy: Realism versus Liberalism in Japan Since the Second World War”, Japan Forum, Vol. 22, No. 3-4 (2010), pp. 407-408.
• 24 “The Constitution of Japan”, at http://japan.kantei.go.jp/constitution_and_ government_of_japan/constitution_e.html (last visited 17 February 2017).
• 25 Lydia N. Yu Jose, “Japan’s Soft Power Viewed Through the Lens of the Philippines”, Philippine Political Science Journal, Vol. 33, No. 2 (2012) pp. 146-160.
• 26 Eric Heginbotham and Richard J. Samuels, “Mercantile Realism and Japanese Foreign Policy”, International Security, Vol. 22, No. 4 (1998), pp. 157-156.
• 27 Koichi Iwabuchi, “Pop-Culture Diplomacy in Japan: Soft Power, Nation Branding and the Question of International Cultural Exchange”, International Journal of Cultural Policy, Vol. 21, No. 4 (2015), p. 420.
• 28 Iwabuchi, “Pop-Culture Diplomacy in Japan”, p. 420.
• 29 Rajan Menon, “Reorienting Japan”, Survival Global Politics and Strategy, Vol. 50, No. 3 (2008), pp. 177-180.
• 30 Bert Edström, “The Yoshida Doctrine and the Unipolar World”, Japan Forum, Vol.16, No. 1 (2010), p. 67.
• 31 Andrea Pressello, “The Fukuda Doctrine and Japan’s Role in Shaping Post-Vietnam War Southeast Asia”, Japanese Studies, Vol. 34, No. 1 (2014), p. 37.
• 32 Japanese Foundation, at http://www.jpf.go.jp/e/about/index.html (last visited 17 February 2017).
• 33 The Japan Foundation: 2014/2015 Annual Report (Tokyo: JPF, 2015), p. 6.
• 34 Japan International Corporation Agency, at https://www.jica.go.jp/english/about/oda/ index.html (last visited 17 February 2017).
• 35 Presello, “The Fukuda Doctrine”, p. 39.
• 36 Japanese traditional drama.
• 37 Iwabuchi, “Pop-Culture Diplomacy in Japan”, pp. 420-421.
• 38 Japan Media Communication Center, “About”, at http://www.jamco.or.jp/en/about/ (last visited 17 February 2017).
• 39 Japan Media Communication Center, “Library”, at http://www.jamco.or.jp/en/library/ (last visited 17 July 2017).
• 40 The Japan Foundation: 2014/2015 Annual Report, Tokyo, JPF, 2015, p. 6
• 41 These countries are: Italy, Germany, France, South Korea, China, Indonesia, Thailand, Philippines, Malaysia, India, Australia, Canada, USA, Mexico, Brazil, United Kingdom, Spain, Hungary, Russia, Egypt, Vietnam, Cambodia, Laos.
• 42 The Japan Foundation: 2015/2016 Annual Report, Tokyo, JPF, 2016, pp. 11-21.
• 43 Cosplay is short form of “costume play”.
• 44 Iwabuchi, “Pop-Culture Diplomacy in Japan”, pp. 423-424.
• 45 Nissim Kadosh Otmazgin, “Geopolitics and Soft Power: Japan’s Cultural Policy and Cultural Diplomacy in Asia”, Asia-Pacific Review, Vol. 19, No. 1 (2012), pp. 50-52.
• 46 Ibid, pp. 50-52.
• 47 Ibid.
• 48 John Harris, “Cool Britannia: Where Did It All Go Wrong?”, New Statesman, 1 May 2017, at https://www.newstatesman.com/1997/2017/05/cool-britannia-where-did-itall-go-wrong (last visited 11 August 2017).
• 49 Ibid.
• 50 Douglas McGray, “Japan’s Gross National Cool’’, Foreign Policy, 11 November 2009, at http://foreignpolicy.com/2009/11/11/japans-gross-national-cool/ (last visited 17 February 2017).
• 51 David Leheny, “A Narrow Place to Cross Swords: Soft Power and the Politics of Japanese Popular Culture in East Asia”, in Peter Katzenstein and Takashi Shiraishi (eds.), Beyond Japan The Dynamics of East Asian Regionalism, New York, Cornell University Press, 2006, pp. 220-221.
• 52 Katja Valaskivi, “A Brand New Future? Cool Japan and the Social Imaginary of the Branded Nation”, Japan Forum, Vol. 25, No. 4 (2013), pp. 487- 488.
• 53 Michal Daliot-Bul, “Japan Brand Strategy: The Taming of ‘Cool Japan’ and the Challenges of Cultural Planning in a Postmodern Age”, Social Science Japan Journal, Vol. 12, No. 2 (October 2009), pp. 261-262.
• 54 Cornelia Storz, “Innovation, Institutions and Entrepreneurs: The Case of ‘Cool Japan’”, Asia Pacific Business Review, Vol. 14, No. 3 ( July 2008), pp. 401-402.
• 55 Jonathan E. Abel, “Can Cool Japan save Post-Disaster Japan? On the Possibilities and Impossibilities of a Cool Japanology”, International Journal of Japanese Sociology, Vol. 20, No. 1 (2011), pp. 59-60.
• 56 Ian Condry, “Anime Creativity Characters and Premises in the Quest for Cool Japan”, Theory, Culture & Society, Vol. 26, No. 2-3 (2009), p. 141.
• 57 Intellectual Property Strategic Program 2004, Intellectual Property Strategy Headquarters Government of Japan, 2004, p. 104.
• 58 Ibid., p. 104.
• 59 Content Industry Current Status and Direction of Future Development, Ministry of Economy, Trade and Industry, at http://www.meti.go.jp/english/policy/mono_info_ service/content_industry/pdf/20160329001.pdf (last visited 24 July 2018).
• 60 Cool Japan Strategy, at http://www.meti.go.jp/english/policy/mono_info_service/ creative_industries/pdf/120116_01a.pdf (last visited 24 July 2018).
• 61 Promotion of the Cool Japan Strategy and the Creative Tokyo Project, Ministry of Economy, Trade and Industry, 2012, p. 1.
• 62 Cherrie Lou Billones, “‘Cool Japan’ cultural promotion underway with PM Abe’s support”, Japan Daily Press, at http://japandailypress.com/cool-japan-culturalpromotion-underway-with-pm-abes-support-0624681/ (last visited 5 May 2017).
• 63 Cool Japan Fund, at https://www.cj-fund.co.jp/en/about/cjfund.html (last visited 5 May 2017).
• 64 John Hofilena, “‘Cool Japan’ initiative to use $1 billion in public funds to push Japanese cultural exports”, Japan Daily Press, 25 November 2013.
• 65 Cool Japan Initiative, Cabinet Office Intellectual Property Headquarters, 2014, pp. 3-4.
• 66 Cool Japan Proposal, Cool Japan Movement Promotion Council, 2014, p. 6.
• 67 Nye, The Future of Power, pp. 79-80.
• 68 Intellectual Property Strategic Program 2016, Intellectual Property Strategy Headquarters, 2016, pp. 47-48.
• 69 Content Industry Current Status and Direction of Future Development, Ministry of Economy, Trade and Industry, at http://www.meti.go.jp/english/policy/mono_info_ service/content_industry/pdf/20160329001.pdf (last visited 24 July 2018).
• 70 Condry, “Anime Creativity Characters and Premises in the Quest for Cool Japan”, p. 140.
• 71 Kinko Ito, “A History of Manga in the Context of Japanese Culture and Society”, The Journal of Popular Culture, Vol. 38, No. 3 (2005), pp. 458-466.
• 72 Nippon, “The Evolution of the Japanese Anime Industry”, at http://www.nippon.com/ en/features/h00043/ (last visited 17 February 2017).
• 73 Ibid.
• 74 Shinobu Price, “Cartoons from Another Planet: Japanese Animation as Cross-Cultural Communication”, Journal of American & Comparative Cultures, Vol. 24, No. 1/2 (2001), pp. 153-154.
• 75 Minako Oohagan, “Manga, Anime and Video Games: Globalizing Japenese Cultural Production”, Perspectives: Studies in Translatology, Vol. 14, No. 4 (2007), pp. 242-247.
• 76 Rayna Denison, “Anime Tourism: Discursive Construction and Reception of the Studio Ghibli Art Museum”, Japan Forum, Vol. 22, No. 3-4 (2010), pp. 545-548.
• 77 Ian Condry, The Soul of Anime, London, Duke University Press, 2013, pp. 1-3.
• 78 Okamoto, “Otaku Tourism and the Anime Pilgrimage Phenomenon in Japan”, pp. 12- 23.
• 79 Ibid., pp. 12-23.
• 80 Morikawa Kaichiro, “Otaku/Geek”, Review of Japanese Culture and Society, Vol. 25, No. 1 (2013), pp. 56-58.
• 81 Patrick W. Galbraith, “Akihabara: Conditioning a Public “Otaku” Image”, Mechamedia, Vol. 5, No. 1 (2010), pp. 210-212.
• 82 Srividya Ramasubramanian ve Sarah Kornfield, “Japanese Anime Heroines as Role Models for U.S. Youth: Wishful Identification, Parasocial Interaction, and Intercultural Entertainment Effects”, Journal of International and Intercultural Communication, Vol. 5, No. 3 (2012), pp. 189-194.
• 83 Jin Kyu Park, “‘Creating My Own Cultural and Spiritual Bubble’: Case of Cultural Consumption by Spiritual Seeker Anime Fans”, Culture and Religion, Vol. 6, No. 3 (2005), pp. 393-395.
• 84 Yoshitaka Mori, “The Pitfall Facing the Cool Japan Project: The Transnational Development of the Anime Industry under the Condition of Post-Fordism”, International Journal of Japanese Sociology, Vol.20, No. 1 (2011), pp. 30-38.
• 85 Koichi Iwabuchi, “China, Japan’s Chimera, and Media Cultural Globalization”, Cinema Journal, Vol. 49, No. 3 (2010), pp. 150-152.
• 86 Bahadır Pehlivantürk, “From Peace State to Peacekeeping State: Japan’s Changing National Role Conception and Foreign Policy Norms”, Perceptions: Journal of International Affairs, Vol. 21, No. 1 (Spring 2016), pp. 63-75.
• 87 For more information see http://aja.gr.jp/english/japan-anime-data (last visited 17 February 2017).