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d cartoons and how anime is more complex in terms of its storyline and covers various genres from romance to sports. Eventually, anime became a unique tool in introducing Japan and their culture to the world.

It is imperative to note how studies on animation from different countries have led to a change on how animation is perceived based on the country of their origins. Napier (2001:4) recognized anime as an export of popular culture of Japan and becoming a sub-culture in the United States and has been widely accepted by many other parts of the world as part of their media content consumption. Napier further elaborated on how anime earned its place Japanese pop culture after being overshadowed by Japanese live-action cinema and existed in an insignificant children-oriented option. Anime has developed into a variety of genre and the popularity it has gained lead towards a significant increase of Japanese animation studios.

Taken into account how anime is globally accepted, Ruh (2004), a student of Napier, further examined the work of notable Japanese anime filmmaker, Mamoru Oshii. Among his significant findings include the indication that during the process of producing anime films, Oshii had the Japanese audience in mind and not the whole world. This means that Oshii intended that his films must cater to a local audience first before taking into consideration the acceptance of other people. This also refutes arguments (if brought up) that an animation has to be constructed according to the needs of a global audience rather than focusing on the local audience alone.

From literature findings on animation, it is very much notable that the two current major animation industries in the world hail from the United States and Japan. However, with the development of technology and skillful manpower in animation, a few other countries have grown to become minor competitors of the industry. These countries may not pose a direct industrial threat to both American and Japanese animation, but they do own a piece of cultural animation history of their own.

In Korean animation for example, Giammarco (2005) pinpointed the influence on Walt Disney and Japanese animation towards Korean animation history. The introduction of Geaggum (literally meaning Dog Dreams) sparked the start of Korean animation and the birth of an iconic character linked to Korea. Perceivably inspired by Disney, the lead character portrays anthropomorphic (human-like) dog is widely portrayed in their short animated films.

Apart from the content itself, more recent studies on animation has seen other aspects being studied i.e. art, technology, authorship, genre, effects etc. Davenport & Gunn (2009) studied the interest of animation art through the collaboration workshops they organized in Estipac, Mexico. The effort was made to foster creativity among rural youth in Mexico through a collaborative attempt in producing animation as a visual art rather than focusing on its historical contents, plot, story etc.

Animation has also been studied as a genre as demonstrated by Ortega-Brena (2009) who took a phenomenological approach to viewing Japanese pornographic anime (or widely known as hentai). Ortega-Brena concisely reassessed the Japanese traditions of obscene art and visual presentation本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。