National Cultural Connotation in Japanese Anime --Taking Detective Conan as an Example
- 1 Jianghan University
* Author to whom correspondence should be addressed.
Abstract
Japanese animation enjoys a high international reputation, and the animation industry is one of the most influential industries in Japan. It not only entertains the public, but also spreads Japanese national cultural values. Among them, Detective Conan has been broadcasted continuously for more than 20 years and is one of the most influential phenomenal anime works in Japan. Culture is the root and soul of a country, which can unite social consensus and enhance the sense of national identity. One of the major reasons for the great success of Detective Conan is its close integration with Japanese national culture. This paper takes Detective Conan as an example, selects the case of combining the anime plot with Japanese national culture, and analyses the mapping of Japanese animation on Japanese national culture. It helps to improve the knowledge of Japanese culture, and also provides a direction for the development of China’s animation industry.
Keywords
animation, Japan, national culture, Detective Conan
[1]. Yang Xue. (2019) Reflection and reference on the operation of Japanese IP film and television--Taking Detective Conan as an example[J]. Television Research, (09):86-88.
[2]. Jiao Su’e, Zhao Yan. (2010) The road to success of Japanese anime classics from Detective Conan[J]. China TV, (12):56-59.
[3]. You Jingfang. (2012) From a cartoon to an industry - Japan’s criminal investigation cartoon brand “Detective Conan” analysis[J]. Popular Literature and Art, (05):115-116.
[4]. Zhang Zongze. (2019) Analysis of the “vitality” of long-form television animation--Take “Detective Conan” as an example[J]. Sound Screen World, (10):90-92.
[5]. He Nan. (2020) Reflections on the combination of Japanese animation and national cultural elements--Taking Detective Conan as an example[J]. Comparative Research on Cultural Innovation, ,4(15):32-33.
[6]. Zhang Zongze. (2019) The popularisation of cultural heritage protection by film and television animation at a low age - taking the Japanese animated film “Detective Conan:Crossroads of the Labyrinth” as an example[J]. Sound Screen World, (06):67-68.
[7]. Wen Jinsong. (2012) An analysis of the influence of Japanese animation on domestic animation--Taking “Detective Conan 2011:15 minutes of silence” as an example[J]. China Film Market, (02):34-35.
[8]. Deng Jia. (2021) The Cultural Connotation of Japanese Deductive Anime--Taking “Detective Conan: Zero’s Executioner” as an Example[J]. Imago Literature and Creativity, (13):85-86.
[9]. Wu Shige. (2014) Analysing the Character of Japanese Anime Characters by Detective Conan[J]. Film Literature, (24):52-53.
[10]. Zheng Qiqi. (2020) Media integration background of “detective conan” anime IP development reference[J]. Sound Screen World, (08):74-75.
Cite this article
Li,H. (2023). National Cultural Connotation in Japanese Anime --Taking Detective Conan as an Example. Communications in Humanities Research,13,32-38.
Data availability
The datasets used and/or analyzed during the current study will be available from the authors upon reasonable request.
Disclaimer/Publisher's Note
The statements, opinions and data contained in all publications are solely those of the individual author(s) and contributor(s) and not of EWA Publishing and/or the editor(s). EWA Publishing and/or the editor(s) disclaim responsibility for any injury to people or property resulting from any ideas, methods, instructions or products referred to in the content.
About volume
Volume title: Proceedings of the International Conference on Global Politics and Socio-Humanities
© 2024 by the author(s). Licensee EWA Publishing, Oxford, UK. This article is an open access article distributed under the terms and
conditions of the Creative Commons Attribution (CC BY) license. Authors who
publish this series agree to the following terms:
1. Authors retain copyright and grant the series right of first publication with the work simultaneously licensed under a Creative Commons
Attribution License that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this
series.
2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the series's published
version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial
publication in this series.
3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and
during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See
Open access policy for details).