![]() ![]() ![]() In this thesis I examine the history and dynamics of anime fans and fandom in the UK, but rather than beginning with this obvious starting point, I work through the pre-history of fandom, identifying the localised, “culturally odourless” (Iwabuchi, 1998) titles screened on television or in the cinema that served to catch the attention of young people who would become fans. However, while it is tempting to take this as the absolute genesis of UK anime fandom, to do so is to decontextualise both anime and anime fandom in the UK – neither occurred in isolation, nor did either spring up overnight. Organised anime fandom in the UK is relatively young, having originated in the early ’90s following the UK’s first recorded anime screening programme at a convention (McCarthy, 2018a) and, shortly thereafter, the success of Ōtomo Katsuhiro’s Akira (1988) and the launch of Manga Video. The survey’s outcomes are complemented by nine in-depth interviews conducted during an anime convention, further exploring the motivations derived from the survey. Age and gender are relevant predictors for the sample’s motivations and also influence audience preferences regarding genres. Five main motivations were found for anime viewing, with entertainment being the strongest. A scale by Rubin and Perse (1987), originally used in regard to the audiences of soap operas, was adapted in the scope of this article. This article presents and discusses the outcomes of an online survey completed by 568 respondents, most of them young and regular watchers of anime. However, non-Japanese audiences’ motivations for watching this kind of content remain almost unstudied in some countries, with Portugal being one of them. It is simultaneously broadcasted by traditional media and easily distributed and discussed among fans in the digital and online realms. Japanese animation, widely known as anime, has a global reach. ![]()
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