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"Kontestasi anime Jepang dan animasi Cina (donghua) merupakan fenomena yang menarik. Belakangan ini, film animasi yang beredar bukan hanya didominasi oleh anime Jepang namun juga film animasi Cina atau yang dikenal dengan sebutan donghua. Peminat anime Jepang mulai melirik donghua Cina. Bagaimana kontestasi konkrit di antara keduanya menjadi fokus permasalahan penelitian ini. Tujuan penelitian ini adalah menjelaskan kontestasi anime Jepang dan donghua Cina. Teori yang digunakan dalam penelitian ini adalah kontestasi budaya yang dikemukakan oleh Marc Howard Ross (2009) dan soft power dari Joseph Nye (2004). Eksplanasi atas kontestasi anime Jepang dan donghua Cina terbagi atas kontestasi unsur intrinsik dan kontestasi unsur ekstrinsik. Kontestasi unsur intrinsik berkenaan dengan (i) isi cerita, (ii) sinematografi, dan (iii) karakter animasi. Sementara itu, kontestasi unsur ekstrinsik, terbagi atas (i) kontestasi popularitas anime Jepang dan donghua Cina di kalangan komunitasnya, dan (ii) kontestasi popularitas anime-donghua di kalangan reviewer anime. Berdasarkan hasil yang diperoleh, anime Jepang masih dapat berkontestasi dalam unsur intrinsik dan ekstrinsik. Namun, permasalahan internal seperti pekerjaan animator yang bekerja melampaui batas dengan pendapatan yang rendah membuat orang Jepang enggan menjadi animator. Jika permasalahan ini tidak teratasi, anime akan mengalami masalah dalam hal rekrutmen animator yang berkualitas. Sementara itu, donghua dalam hal ini masih pada tahap mengembangkan unsur intrinsik dan ekstrinsiknya, seperti isi cerita, sinematografi, karakter anime, popularitas di kalangan komunitas dan reviewer. Meskipun pembuatan animasinya sudah sangat canggih, masih ada bagian-bagian tertentu dalam unsur intrinsik dan ekstrinsik yang belum bisa menyaingi anime.

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The contestation between Japanese anime and Chinese animation (donghua) is an interesting phenomena. These days, animated films in circulation are not only dominated by Japanese anime but also Chinese animated films or known as donghua. Japanese anime fans are starting to look at Chinese donghua. How concrete contestation between the two is the focus of this research problem. The purpose of this research is to explain the contestation of Japanese anime and Chinese donghua. The theory used in this research is cultural contestation proposed by Marc Howard Ross (2009) and soft power from Joseph Nye (2004). Explanation of the contestation of Japanese anime and Chinese donghua is divided into intrinsic element contestation and extrinsic element contestation. Intrinsic element contestation concerns (i) story content, (ii) cinematography, and (iii) animated characters. Meanwhile, the contestation of extrinsic elements is divided into (i) contestation of the popularity of Japanese anime and Chinese donghua among their communities, and (ii) contestation of anime-donghua popularity among anime reviewers. Based on the results obtained, Japanese anime can still contest in intrinsic and extrinsic elements. However, internal problems such as overworked animators with low income discourage Japanese people from becoming animators. If these issues are not resolved, anime will experience problems in terms of recruiting qualified animators. Meanwhile, donghua in this case is still in the stage of developing its intrinsic and extrinsic elements, such as story content, cinematography, anime characters, popularity among the community and reviewers. Although the animation creation is very sophisticated, there are still certain parts such as story content, popularity among the community and reviewers that cannot compete with anime."

"Makalah ini ditulis dengan tujuan untuk menjelaskan masalah stereotip jender di media khususnya dalam film Disney yaitu Brave (2012). Makalah ini diharapkan dapat menambah penjelasan tentang dekonstruksi stereotip jender karakter putri dalam film-film dongeng Disney. Pada awalnya, perusahaan Disney, dalam dongeng-dongengnya, menciptakan karakter putri yang menguatkan stereotip jender, seperti Snow White dan Cinderella. Akan tetapi, seiring dengan perkembangan jaman, Disney membuat perubahan-perubahan dalam karakter putri yang pada akhirnya menawarkan karakter putri yang berbeda dari stereotip jender dengan membuat film Brave (2012). Dengan menggunakan konsep Towbin tentang karakteristik wanita dalam dongeng Disney, makalah ini berusaha untuk menunjukkan negosiasi perilaku karakter putri yang mandiri tetapi tetap mempertahankan perilakunya sebagai seorang putri. Dalam film, hal ini ditunjukkan dalam interaksi antara karakter putri dan karakter pendamping sebagai indikasi dari dekonstruksi stereotip jender.

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This research is done in order to explain gender stereotype issue in the media in the scope of Disney movie Brave (2012). The paper hopes to add more explanation on the deconstruction of gender stereotypes in princess characters in Disney fairytales. In the beginning, the Disney company created a typical princess character in Disney fairytales that affirms gender stereotype, such as Snow White and Cinderella. However, since that time, the company has made changes in their princess character and offered a character different from the existing gender stereotypes by making the fairytale Brave (2012). Using Towbin’s concept about the characteristics of women in Disney fairytales, the research attempts to show the negotiation of the princess’ behavior that is independent but still maintains her behavior as a princess as shown in the princess’ and minor characters’ interactions in the movie as an indication of the deconstruction of gender stereotypes."

"Anime is a quintessentially Japanese form of animation consisting of both hand drawn and computer-generated imagery, and is often characterised by colourful graphics, vibrant characters, and fantastical themes. As an increasingly globalising expression of popular art and entertainment, and distributed through cinema, television, and over the internet, anime series and films have an enormous following, not only in Japan but also in Asia. This book provides a comprehensive survey of the historical development, industrial structure, and technical features of Japanese animation and of the overall dynamics of its globalisation in key contexts of the Asian region. Specific chapters cover anime’s production logics, its features as an ‘emotion industry’, and the involvement of a range of Asian countries in the production, consumption, and cultural impact of Japanese animation."