Here are 100 books that Sharing a House with the Never-Ending Man fans have personally recommended if you like
Sharing a House with the Never-Ending Man.
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I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
This book has remained consistently influential and thought-provoking from the time it was written in 2006. Kelts uses the notion of the moebius strip to analyze the sometimes surprisingly rich and complex dynamics in the mutual relationship between Japanese and American popular culture. He explains how much each country’s art and entertainment culture has influenced the other in an interweaving tapestry of history, art, and inspiration. At a time when the question of cultural appropriation is still a provocative subject, Kelt’s book reminds us of how fruitful cultural interchange can be.
Anime, or Japanese animation, is Asia's equivalent of the Harry Potter phenomenon in the rest of the world. While Hollywood struggles to fill seats, Japanese anime releases are increasingly outpacing American movies in sheer numbers and, more importantly, in the devotion they inspire in their fans. But just as Harry Potter is both "universal" and very English, anime is also deeply Japanese, making its popularity in the rest of the world surprising. "Japanamerica" is the first book that directly addresses our experience with anime and the Japanese pop phenomenon, covering everything from Hayao Miyazaki's epics, the burgeoning world of hentai,…
I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
This gorgeous catalogue is an event in itself that commemorates an even more interesting event, the fact that the brand new Museum of the Academy of Motion Pictures chose as its first special exhibition not the work of an American director, and not the work of a live-action auteur but the work of a Japanese animation director who lives and creates thousands of miles from Hollywood. The catalogue is not only beautifully illustrated with scenes from Miyazaki movies and reproductions of many of Miyazaki’s storyboards, but also contains some excellent essays by the exhibition’s curators, including Jessica Niebel and Daniel Kothensculte. The curators draw on their film and art expertise to give insightful, sensitive readings of the director and his contributions to the world of cinema.
A richly illustrated journey through the extraordinary cinematic worlds of beloved filmmaker Hayao Miyazaki
For over four decades, Hayao Miyazaki has been enchanting audiences of all ages. His animated films, often featuring children navigating unfamiliar and challenging worlds, offer timeless explorations of youth and what it means to grow up. Celebrated and admired around the globe for his artistic vision, craftsmanship and deeply humanistic values, Miyazaki has influenced generations of artists. The universal appeal of his evocative natural settings and complex characters, many among them strong girls and young women, cuts across cultural boundaries.
I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
Another catalogue (sorry!) but also another opportunity to delve into a rich and beautiful world, this time not Miyazaki’s but the world of Walt Disney and the European Rococo as seen in a special exhibition at the Metropolitan Museum of Art in New York. At first glance, this pairing seems an unlikely juxtaposition since the ornamental art of the Rococo flourished in the 18th century. As the beautifully illustrated catalogue and excellent essays by the curator Wolf Burchard amply demonstrate, however, both Walt Disney and the many superb artists who worked for him drew creative and aesthetic inspiration from all aspects of Rococo art. These range from decorative anthropomorphized teapots (think Mrs. Potts in Beauty and the Beast) or the flamboyant costumes and hairstyles of the period, (illustrated in a mesmerizing scene from Cinderella) to Fragonard’s exquisite painting “Girl on a Swing” that shows up briefly but…
How Walt Disney and the Disney Studios wove the aesthetics of French decorative arts into the fairy-tale worlds of beloved animated films, from Cinderella to Beauty and the Beast and beyond
Pink castles, talking sofas, and objects coming to life: what may sound like the fantasies of Hollywood dream-maker Walt Disney were in fact the figments of the colorful salons of Rococo Paris. Exploring the novel use of French motifs in Disney films and theme parks, this publication features forty works of eighteenth-century European design-from tapestries and furniture to Boulle clocks and Sevres porcelain-alongside 150 Disney film stills, drawings, and…
I am the Goldthwaite Professor of Rhetoric and Japanese at Tufts University. I’ve lived in Japan for 8 years beginning when I was 17 when I travelled to Tokyo and lived on my own, teaching English, and studying Japanese. I became a scholar of Japanese literature, and then in the 1990s became interested in Japanese animation (anime) and in animation in general. I’ve written five books on either Japanese literature or anime-related subjects, and I am currently working on a project comparing the animated films of the Walt Disney Studio with the films of Studio Ghibli.
This is a book for animation aficionados who really want to think about the nuts and bolts of animation. As someone with a tendency to revel in the world building of the finished product of animation, be it a Miyazaki movie or a Disney film, this book re-orients me to the materiality of the medium itself. And yes, traditional animation is a material medium! Frank looked at thousands of animation cells, literally frame by frame, and in her book provides us with a glimpse of the enormous labor, expertise, and occasional mistakes that go into creating even a seven-minute short subject. She brings back from the past the many women who were the inkers and in-betweeners in American animation studios and makes us realize the enormous effort (and tedium) that went into producing the fluid and flexible cartoons that Hollywood is known for.
At publication date, a free ebook version of this title will be available through Luminos, University of California Press's Open Access publishing program. Visit www.luminosoa.org to learn more.
In this beautifully written and deeply researched study, Hannah Frank provides an original way to understand American animated cartoons from the Golden Age of animation (1920-1960). In the pre-digital age of the twentieth century, the making of cartoons was mechanized and standardized: thousands of drawings were inked and painted onto individual transparent celluloid sheets (called "cels") and then photographed in succession, a labor-intensive process that was divided across scores of artists and…
Princess Mononoke blew my mind. And as I read about Miyazaki himself I thought: here is a kindred spirit. I thought I’d try teaching a course on Miyazaki, not sure if I could sustain a whole semester just about his work—and then I found, there’s way more than a semester’s worth to talk about. After teaching about Miyazaki for a few years, I had to write it all down. Some reviews of my book say my essays are personal, and it’s true, for better or worse—it isn’t about Studio Ghibli or the production process or even about Japan—it’s my reflections on these great films.
This is an excellent “life in art,” or a series of chapters on the major works in a biographical context.
Napier discusses such questions as: his feelings about the fact that his family profited from the war, making fan belts for fighter planes; his feelings about his father compared to his mother; the relation of the works to his professional life—the studio, his collaborators, his periodic burn-out and work ethic.
The story of filmmaker Hayao Miyazaki's life and work, including his significant impact on Japan and the world-"an essential work in anime scholarship." (Angelica Frey, Hyperallergic)
A thirtieth-century toxic jungle, a bathhouse for tired gods, a red-haired fish girl, and a furry woodland spirit-what do these have in common? They all spring from the mind of Hayao Miyazaki, one of the greatest living animators, known worldwide for films such as My Neighbor Totoro, Princess Mononoke, Spirited Away, Howl's Moving Castle, and The Wind Rises.
Japanese culture and animation scholar Susan Napier explores the life and art of this extraordinary Japanese…
I have lived in Japan for the last 30 years but my love for manga, anime, and games is much older and dates back to when UFO Robot Grendizer was first shown on Italian TV a fateful summer evening in 1978. Many years later, I was able to turn my passion for all things Japanese into a job and now I regularly write about politics, society, sports, travel, and culture in all its forms. However, I often go back to my first love and combine walking, urban exploration, and my otaku cravings into looking for new stores and visiting manga and anime locations in and around Tokyo.
Both the Italians and the Japanese are obsessed with food, and I’m an Italian living in Japan. You do the math. My first shocking encounter with sushi notwithstanding (I mistook wasabi for some kind of green mayonnaise) I love Japanese cuisine, and anime stories are full of people eating all kinds of food.
If you have found yourself watching an anime and wishing that you could taste a particular dish, with this book you can go one step further: you can make it yourself. Here you will find simple but detailed instructions on how to make lots of Japanese dishes, and their connections with a particular anime title. I wish I owned this book when I first entered Otakudom.
Experience the World of Japanese Pop Culture Through a Whole New Medium-Japanese Food!
#1 New Release in Animated Humor & Entertainment
With dishes inspired by otaku culture, this cookbook brings Japanese anime and manga to chefs of all levels.
Experience Japanese culture like never before. Japan fever has taken the West by storm. Praised for its attention to detail, it's no wonder that some of the most appealing images are colorfully culinary. From beautifully animated bowls of ramen and curry to cakes and confectionery, Japanese food culture never looked so good. If only you could reach out and take a…
I have lived in Japan for the last 30 years but my love for manga, anime, and games is much older and dates back to when UFO Robot Grendizer was first shown on Italian TV a fateful summer evening in 1978. Many years later, I was able to turn my passion for all things Japanese into a job and now I regularly write about politics, society, sports, travel, and culture in all its forms. However, I often go back to my first love and combine walking, urban exploration, and my otaku cravings into looking for new stores and visiting manga and anime locations in and around Tokyo.
Patrick Galbraith is arguably one of the leading experts on all things otaku. He has written dozens of article and essays and a few books on the subject, and choosing one to showcase here was not easy. The Moe Manifestois not an entry-level work; it’s for hardcore fans who want to dive headfirst into the otaku rabbit hole. Even I often consult it for inspiration when I write about Japanese subcultures.
The book’s main selling point – especially if you can’t read Japanese – is that Galbraith has assembled a unique lineup of experts (university professors, social and cultural critics, writers, illustrators and other assorted creatives) that he has extensively interviewed about different aspects of otaku culture. There’s a lot of serious food for thought here.
Moe is a huge cultural phenomenon and one of the driving forces behind the enormous success of Japanese anime and manga--not just in Japan but now throughout the world.
In Japan, avid fans of manga comics, anime films and video games use the term Moe to refer to the strong sense of emotional attachment they feel for their favorite characters. These fans have a powerful desire to protect and nurture the youthful, beautiful and innocent characters they adore--like Sagisawa Moe in Dinosaur Planet and Tomoe Hotaru in Sailor Moon. They create their own websites, characters, stories, discussion groups, toys and…
Princess Mononoke blew my mind. And as I read about Miyazaki himself I thought: here is a kindred spirit. I thought I’d try teaching a course on Miyazaki, not sure if I could sustain a whole semester just about his work—and then I found, there’s way more than a semester’s worth to talk about. After teaching about Miyazaki for a few years, I had to write it all down. Some reviews of my book say my essays are personal, and it’s true, for better or worse—it isn’t about Studio Ghibli or the production process or even about Japan—it’s my reflections on these great films.
This short book is a detailed study of just one great film, scholarly but without jargon.
Along the way, he points out many details I had missed. He also demonstrates the connections of Spirited Away to Miyazawa Kenji’s Night of the Milky Way Railway, and other sources and inter-textual references. Very interesting and revealing.
Spirited Away, directed by the veteran anime film-maker Hayao Miyazaki, is Japan's most successful film, and one of the top-grossing 'foreign language' films ever released. Set in modern Japan, the film is a wildly imaginative fantasy, at once personal and universal. It tells the story of a listless little girl, Chihiro, who stumbles into a magical world where gods relax in a palatial bathhouse, where there are giant babies and hard-working soot sprites, and where a train runs across the sea.
Andrew Osmond's insightful study describes how Miyazaki directed Spirited Away with a degree of creative control undreamt of in…
Princess Mononoke blew my mind. And as I read about Miyazaki himself I thought: here is a kindred spirit. I thought I’d try teaching a course on Miyazaki, not sure if I could sustain a whole semester just about his work—and then I found, there’s way more than a semester’s worth to talk about. After teaching about Miyazaki for a few years, I had to write it all down. Some reviews of my book say my essays are personal, and it’s true, for better or worse—it isn’t about Studio Ghibli or the production process or even about Japan—it’s my reflections on these great films.
This is an excellent general review of the films from Castle of Cagliostro to Princess Mononoke, including plot outline, character studies, technical notes, and appreciations of the films. She is very insightful about the artistic technique. And there’s an interesting chapter at the end about Miyazaki merchandise. This would be a good starting point for a fan.
Anime is a huge market, and this is the exclusive, definitive book on the leading master of Japanese animation today, Hayao Miyazaki. Disney has licensed the Miyazaki line (e.g., Kiki's Delivery Service ) and plans another major release this summer. This book supplies informed discussions of style and narrative for each of Miyazaki's major films, with all the data and detail fans want.
Princess Mononoke blew my mind. And as I read about Miyazaki himself I thought: here is a kindred spirit. I thought I’d try teaching a course on Miyazaki, not sure if I could sustain a whole semester just about his work—and then I found, there’s way more than a semester’s worth to talk about. After teaching about Miyazaki for a few years, I had to write it all down. Some reviews of my book say my essays are personal, and it’s true, for better or worse—it isn’t about Studio Ghibli or the production process or even about Japan—it’s my reflections on these great films.
Whereas my book is about the ideas that come out of the films, this book is on the philosophy of Miyazaki himself, based on his writings and interviews. It is organized not by film or chronology, but by themes, such as Time, Space, Vision, and my favorite, “The Courage to Smile.” She describes the director’s picture of the world and uses the films as illustrations. The book has certain fannish qualities, but is enriched by a creative selection of contemporary philosophers.
Hayao Miyazaki has gained worldwide recognition as a leading figure in the history of animation, alongside Walt Disney, Milt Kahl, Tex Avery, Chuck Jones, Yuri Norstein and John Lasseter. In both his films and his writings, Miyazaki invites us to reflect on the unexamined beliefs that govern our lives. His eclectic body of work addresses compelling philosophical and political questions and demands critical attention. This study examines his views on contemporary culture and economics from a broad spectrum of perspectives, from Zen and classical philosophy and Romanticism, to existentialism, critical theory, poststructuralism and psychoanalytic theory.
