ABSTRACT This article discusses the impact of Japanese animated cartoons (or ‘anime’) in two European key markets, Italy and France. It first provides a theoretical perspective on anime’s features that appeal to global audiences, pointing out ‘universal’ and ‘particular’ aspects of this medium’s contents, morals, storytelling, and visual styles. The author posits that the notion taken for granted in much scholarship as well as among Japanese government agencies, according to which anime’s popularity would be mainly due to its being ‘cool’, is overrated, arguing that it is elsewhere that the audience’s affection is to be identified. The second part discusses the success of anime in Italy and France from the late 1970s, showing how its deep popular penetration in the two countries was due to its sudden and massive presence in an age dominated by a model of media consumption based on nationwide broadcastings and theatrical releases. The crisis of such model due to changes in media content’s distribution and consumption, which occurred from the 2000s on, did not severely affect anime’s popularity in these two markets, by virtue of the depth of its previous mainstream circulation: a phenomenon the author reads also through the Gramscian category of ‘national-popular’.

中文翻译：

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日本动画的欧洲经验，以及它可以揭示动画的跨国吸引力

摘要 本文讨论了日本动画（或“动漫”）在意大利和法国这两个欧洲主要市场的影响。它首先提供了一个关于吸引全球观众的动漫特征的理论视角，指出了这种媒体的内容、道德、讲故事和视觉风格的“普遍”和“特殊”方面。作者认为，许多学术界和日本政府机构认为动漫受欢迎主要是因为它“酷”的观念被高估了，认为观众的喜爱是在其他地方。被识别。第二部分讨论了 1970 年代后期动画在意大利和法国的成功，展示了它在两国的深入流行是如何因为它在一个以全国广播和戏剧发行为基础的媒体消费模式为主导的时代突然而大规模地出现。这种模式自 2000 年代以来因媒体内容分布和消费的变化而发生的危机，并没有严重影响动漫在这两个市场的受欢迎程度，凭借其之前的主流流通深度：作者也读到的现象通过葛兰西的“全国流行”类别。