Reception
The book has been criticised for its scholarly nature and "dryness", as well as the limited choice of titles presented. Napier also does not include discussion of the anime industry. It was praised for not trying to make there be just one reading of all anime. It was criticised for not examining the graphical stylistic conventions of anime and for seeming to excuse the patriarchy. It has been noted that she focusses on the narrative qualities of anime, covering ideas, images and themes presented, but that as of 2006, the book is still current and timely, and has an accurate tone when it talks about anime fandom. The clear language of the book has been praised.
There are some factual errors in the book when describing plot summaries and descriptions of series. The book does not engage with the history of anime, or attempt to discern why anime is a distinct medium, or discuss the hallmarks of different formats of anime, such as TV series as opposed to OVAs or animated movies.
The book has been described as "a great textbook for undergraduates" and is used as a course text by university subjects which focus on East Asian cinema, examining Japanese cyberpunk, examining the supernatural in Japanese fiction, depictions of the apocalypse in Asian cinema, gender studies in East Asia and courses on animation itself.
Read more about this topic: Anime From Akira To Princess Mononoke: Experiencing Contemporary Japanese Animation
Famous quotes containing the word reception:
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)