Сетевое издание
Международный студенческий научный вестник
ISSN 2409-529X


Livshits A.E. 1 Galperin M.S. 1
1 Komsomolsk-on-Amur State Technical University
1. Мирошниченко М.Г., Чибисова О.В. Культурный образ Японии в межкультурной коммуникации // Успехи современного естествознания. 2012. № 5. С. 33.
2. Чибисова, О.В. Взаимодействие молодежных субкультур Хабаровского края: диссертация кандидата культурологии: 24.00.01/О.В. Чибисова. Комсомольск-на-Амуре, 2011. 185 с.
3. Чибисова О.В. Молодежные субкультуры в меняющемся мире // Знание. Понимание. Умение. 2012. № 3. С. 198-201.

Through the media, Japan creates its own special image in the eyes of foreigners. It confirms general ideas about it, using all of the familiar images. For many people, the cultural image of Japan is associated with such concepts as «sushi», «cherry», «anime», «kimono», «geisha», «sake», «Samurai» [1]. As follows from this, anime (first of all it is the name of animated films) takes an important place in this series. The first cartoons created in this format, date back to 1958, but the 1990s were a time of widespread acceptance of anime outside Japan, triggering the development of a corresponding subculture in many countries. The globalization of cultural space, of course, affects the further development of the anime subculture, offering an unlimited number updated cultural forms for the members of the subculture to choose from. [2] The processes of spiritual and material innovation exchange within the anime subculture are an important factor of rapprochement of «animeshniks» from different countries as a whole, as well as from Russia and China in particular. [3] Representatives of the anime subculture actively interact with each other, going to international anime festivals from different cities and countries. At these festivals there takes place cosplay shows (a complete recreation of one of the characters in the anime), which have their own specifics in different countries. For example, Japanese cosplayers focus all their efforts on the quality of the actual costume. In China, there can be displayed the traditional costumes of characters of Chinese drama and Peking Opera and movie stars costumes, which have no relation to the Japanese science fiction. In Russia cosplay developed in close contact with role-playing community, so the «performing» of the character is a basic requirement. What unites all «animeshniks» is the ideology of the subculture, which declares such values as resistance, reluctance to give up to people or circumstances, the high human morality. In more serious anime-films they bring up the problems of the meaning of life, escapism problems, loneliness and separateness of people, and religion. In our opinion, this is the most important in subculture, as its widest segment are adolescents aged 12-15 years.

Библиографическая ссылка

Livshits A.E., Galperin M.S. JAPANESE ANIME UNITES RUSSIA AND CHINA // Международный студенческий научный вестник. – 2015. – № 4-4. ;
URL: https://eduherald.ru/ru/article/view?id=13638 (дата обращения: 28.02.2024).

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