# data[].attributes.body
"From the mid-1990s, the golden age of Japanese animation (hereafter "anime" 1) in the United States generated considerable economic revenues, reaching a formidable peak in 2003 with more than US$4.84 billion in sales. "

Anime in the US: The Entrepreneurial Dimensions of Globalized Culture

Otmazgin, Nissim. Pacific Affairs; Vancouver Vol. 87, Iss. 1, (Mar 2014): 53-69. DOI:10.5509/201487153

# data[].attributes.body
"In the past two decades, the enthusiastic global reception of Japanese cultural exports has drawn wide academic attention. In the case of Japanese animation ("anime"), its penetration into the United States, the world's biggest media market, has been described as owing greatly to the crucial role of fans as cultural agents, the deterritorializing effects of globalization, the domestication and heavy editing of anime to suit local tastes, and being part of the wider global flow of Japanese pop culture and "soft power.""

Anime in the US: The Entrepreneurial Dimensions of Globalized Culture

Otmazgin, Nissim.Pacific Affairs; Vancouver Vol. 87, Iss. 1, (Mar 2014): 53-69. DOI:10.5509/201487153

# data[].attributes.body
"Betrayal and cowardice were considered shameful in the ideological system underlying samurai vassalage. The trustworthiness of the parties, however, was a serious problem not only for the vassals. The vassal samurai also scrutinized the trustworthiness of their master, and his ability and his generosity in rewarding followers for superior service."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"In contrast, the samurai remained the exclusive ruling class of Japan until the late nineteenth century, which preserved elitist traditions of shame and honor much longer than in Europe. "

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
" Furthermore, as long as individual samurai tried to uphold the honor code's requirement of loyalty to one's master, the range of moral autonomy was perforce limited."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The disciplined and rightful attitude of the samurai should include the following: not to speak falsehood; not to work for selfish gain; to keep the mind straightforward and honest; simplicity in external appearance; to maintain a disciplined and courteous bearing, neither flattering one's superiors nor being arrogant toward one's juniors; to keep promises unfailingly; and not to ignore another in hardship."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The samurai committed suicide by seppuku on the battlefield when they perceived that they were losing the battle. Rather than incurring the shame of being taken as captives by the enemy, the samurai could testify to their autonomy through their complete control of the body in the final moments of life. They had a highly developed sense of honor and glory, combined with self-esteem, dignity, and moral autonomy demonstrated through violence."

# data[].attributes.body
"The formation of an individual samurai's identity, or samuraihood, was also not defined solely by his birth, but had to be earned in the critical eyes of other samurai through repeated demonstrations of strength and warrior spirit."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The introduction of seppuku or self-willed death was a ritualistic embodiment of this sentiment. The samurai committed suicide by seppuku on the battlefield when they perceived that they were losing the battle. Rather than incurring the shame of being taken as captives by the enemy, the samurai could testify to their autonomy through their complete control of the body in the final moments of life. "

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
Breaking the Honor of Samurai
Relating to historical characters
Breaks Japanese etiquette
Animation Quality
Gintoki's view on life, not typicall main character
Gintoki rejects seppuku

# data[].attributes.body
"It must be also noted that the samurai honor culture was related to the samurai's relations to other social classes, because honor was the core of the samurai's collective identity. Unlike in Europe, where the aristocracy and the warrior class overlapped, the aristocracy of the Japanese imperial court looked down on soldiers."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The samurai's honorific sentiments were expressed by a constellation of words that included na (name), meiyo (honor), haji (shame), chijyoku (shame), iji (pride) and mengoku (face). Within this cultural complex, having a sense of shame meant more than a concern with the externals of honorific status; it also implied a pride and dignity related to internal evaluation in light of the group's approved behavioral principles."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The samurai culture derived its vitality from the close connections between honor, dignity, and individuality that were often expressed in the lexicon of shame. The internal emotional dynamics of the samurai were attached to the sociopolitical roles of individual members of the class through the vocabulary of shame and honor. "

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
" The samurai collectively defined themselves as those who know shame and would risk their lives to defend their honor. In comparison, members of such other classes as the court aristocracy and the commoners would not think of dying for such a reason-or be perceived by others as so doing."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"To be sure, shame (haji) in Japanese can also represent the private passive emotion related to concern for one's social reputation. But within the context of the samurai's elitist honor culture, shame had much deeper and more complex layers of meaning. In this paper, I would like to shed light on an unlikely combination of meanings-namely, the close relationship between shame and moral autonomy"

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"Interestingly, haji or shame can be described in Japanese by a kanji (Chinese character) that consists of an ideogram composed of two root characters representing "ear" and "mind."1 As this way of writing implies, by serving as a bridge between individual aspirations and social expectations, shame in the samurai culture is a case study in the complexity of the interactions between the self and society."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"Although anyone can experience emotions related to shame and honor, social usages and the degree of social influence wielded by these concepts are considerably different if the ruling elite place them at the core of their collective identity. The Japanese concept of shame was closely connected to the rise and transformation of the samurai elite and their political institutions."

Shame and the Samurai: Institutions, Trusthworthiness, and Autonomy in the Elite Honor Culture

Ikegami, Eiko. Social Research; New York Vol. 70, Iss. 4, (Winter 2003): 1351-1378.

# data[].attributes.body
"The premise of the show is wacky in itself: an alternate universe in which isolationist Japan is not visited by Westerners, but rather, invaded by aliens that samurai must fight off. [...]because he relishes his freedom and never seems too malicious about his trolling, the way he interacts with other characters is reminiscent of everyday people and the relationships that they form in real life."

'Gintama': An Outrageous Anime That Breaks Common Clichés

Choi, Jake.University Wire; Carlsbad [Carlsbad]. 03 Nov 2015.

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"Supporting characters are fully developed, with plots that explore new progressions in character arcs and the relationships we see between the most unlikely pairings that become unexpectedly hilarious."

'Gintama': An Outragous Anime That Breaks Common Cliches.

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"Gintama stands out because each character's quirks are often their most defining trait. As viewers watch the episodes, these attributes become endearing, especially as we continue to find out more about the characters' personalities and backgrounds."

Gintama': An Outrageous Anime THat Breaks Common Cliches

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"The frequency of fourth-wall breaking wisecracks that mock the various cliches that we see in other mediums is indicative of how aware the characters are that they are characters in an anime. This isn't the most original concept, but Gintama 's way of doing so is uniquely irreverent -- the characters make fun of their own author by representing him as a gorilla."

'Gintama': An Outrageous Anime That Breaks Common Clichés

Choi, Jake. University Wire; Carlsbad [Carlsbad]. 03 Nov 2015.

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"Another strength is the show's lack of restraint. Gintama, at its heart, is a gag-story anime, which means there's a lot of comedy. Even the setting assists with this; Edo represents an amalgam of the cultures from different timelines of the past, present and future. It has the older Japanese culture, modern Japanese pop culture with references to popular anime and games, and finally, futuristic sci-fi elements with spaceships and lightsabers. Blending the cultures from different timelines together offers a wide variety of comedic opportunities."

'Gintama': An Outrageous Anime That Breaks Common Clichés

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"The beginning episodes are relatively slow, but that's mainly because they are used to set up character introductions. Those who are apprehensive about the surplus of comedy do not have to worry, because Gintama has an emotional core, featuring tear-jerking moments and heart wrenching stories with a definite end game, albeit through a roundabout plot progression. However, the mix of comedy and plot arcs is much appreciated, with the comedy arcs giving viewers a breath of fresh air after the emotional upheavals and heart pounding action."

Gintama': An Outrageous Anime That Breaks Common Clichés

# data[].attributes.body
"Enter Gintoki Sakata, a veteran warrior who once fought the aliens, but now runs an odd-jobs freelance agency. Working with him at the agency is amateur swordfighter Shinpachi and alien girl Kagura. Together, the trio goes through various misadventures throughout the city of Edo, meeting new characters and completing various tasks."

'Gintama': An Outrageous Anime That Breaks Common Clichés

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A japanese animation studio founded in Septemober 1927. It is in Sunigami, Tokyo. It is under the company Bandai Namco which has made many games.

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"I often hear that Gintama is very kind to losers... The thought that "a failure like me can still keep living when I read this manga." But I didn't intentionally draw losers. I've been told that it's because I'm a loser too. Well, fine. But, honestly, I think everyone's a loser. The only difference is te skin we put on. Once you open the lid and look inside, everyone's the same.
-Hideaki Sorachi

# data[].attributes.body
In the last few years of the Edo Period, the use of samurai was starting to slowly decline as there was a sword ban because it was transitioning into the Meiji Restoration period. Samurai were seen as something that was binded with rules and honor, and it was slowly declining. However, the main character of this show, Sakata Gintoki, even in the time of decline of samurais, they do not need to be bound by regulations but rather, each person has their own way of classifying what a samurai is even if others may not approve of it.

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The core of Gintama that makes it so different from every other show is that, the author Hideaki Sorachi, is amazing at switching the mood from comedic to serious. It's a show that can make you cry from laughter, but make you emotional the next second.

An example of this can be seen from the movie "Gintama: Yorozuya The Final" when it starts off in a movie theatre with a humanized camera talking and filming the movie to post it online illegally. It was very comedic how they went over the rules of pirating while commiting piracy. But, the humanized camera was an important character to the plot later on. When the main character confronted the humanized camera about it, he got teleported from the movie theatre 5 years into the future and, at the end of the movie, it connected back to how the movie theatre was the last memory the people of 5 years ago remember of him before the main character dissapeared.

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Part of the odd job trio, his father left him a dojo before he died and he strives to maintain it with his sister, so he works for the main character in order to gain more expierience as a samurai.

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A character part of the odd job buisness the main character runs. Wears a chinese uniform, often copies the main character, is like a daughter to the main character. Came from another planet, is classified as the race "Yato", a clan that exceeds in fighting abilities and have unhuman strength and appetite.

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Katsura Kotaro was based on Kido Takayoshi also referred to as Kido Kōin. Hewas a Japanese statesman of the Meiji Restoration. Before this, He was known as Katsura Kogorō during the late Tokugawa period

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Takasugi Shinsuke was based on Takasugi Shinsaku who lived between 1839 and 1867. The real Takasugi wanted peace and equality. He reformed the Japanese military system and allowed commoners in the army as well.

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Shinsengumi vice commander (important secondary character)

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Shinsengumi vice commander (important secondary character)

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Hijikata Toshiro is based on the real life figure of Hijikata Toshizō, the vice commander of the Shinsengumi who lived during the Bakumatsu period and opposed the Meiji Restoration.

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" Miyazaki's films often include classic adolescent conflict that has cross-cultural appeal to students. Students can also appreciate the sophisticated graphics and be challenged by complex themes. Students are introduced to realistic conflicts, such as the complicated relationship between humans and their environment, that present both sides of an issue to the viewer with no easy solutions (op de Beeck). These films are therefore simultaneously visually engaging and thought provoking." The Animated Classroom

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It must be an argumentative essay.

It needs to have peer-reviewed articles.

It needs to have a certain amount of pages.

It needs to be persuasive.

It should be geared towards your interests.

# data[].attributes.body
"Weaving together the subjects of history, language arts, ecological sustainability, and visuals arts, the project used anime to introduce students to contemporary issues in Japanese culture, the process of literary analysis, and, finally, the technical considerations of animation (see fig. 1). In addition to motivating the students, anime added a new dimension to our work, allowing us to also examine ways in which popular culture might provide insight into the society that creates it." Works Cited

Ruble, Julie, and Kim Lysne. "The Animated Classroom: Using Japanese Anime to Engage and Motivate Students." English Journal, vol. 100, no. 1, 2010, pp. 37-46. ProQuest, https://www.proquest.com/scholarly-journals/animated-classroom-using-japanese-anime-engage/docview/749382159/se-2?accountid=168104.

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Sakata Gintoki, the main character of Gintama. Sakata Gintoki is based on a character in Japanese folklore, “Kintoki Sakata, a hero who was supposedly based on a real person who lived in the 900 CE.  His childhood name, Kintaro, is familiar to the Japanese as one of the most famous heroes in children's stories.

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Gintama is set in the Edo Period in Japan around 1603-1872 when Tokugawa Ieyasu ruled. Set around Bakumatsu, the final years of the Edo period before the Tokugawa rule ended.

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Works Cited

Choi, Jake. "'Gintama': An Outrageous Anime that Breaks Common Clichés." University Wire, Nov 03, 2015. ProQuest, https://www.proquest.com/wire-feeds/gintama-outrageous-anime-that-breaks-common/docview/1729164607/se-2?accountid=168104.

Ruble, Julie, and Kim Lysne. "The Animated Classroom: Using Japanese Anime to Engage and Motivate Students." English Journal, vol. 100, no. 1, 2010, pp. 37-46. ProQuest, https://www.proquest.com/scholarly-journals/animated-classroom-using-japanese-anime-engage/docview/749382159/se-2?accountid=168104.

Otmazgin, Nissim. "Anime in the US: The Entrepreneurial Dimensions of Globalized Culture." Pacific Affairs, vol. 87, no. 1, 2014, pp. 53-69. ProQuest, https://www.proquest.com/scholarly-journals/anime-us-entrepreneurial-dimensions-globalized/docview/1542731108/se-2?accountid=168104, doi:http://dx.doi.org/10.5509/201487153.

Thomas, Kevin. "Movie Review; the Allure of a Geisha, the Sword of a Samurai; 'Taboo' is the Complex Tale of an Attractive, Competent Recruit Amid a Macho Militia in Kyoto.: [Home Edition]." Los Angeles Times, Nov 17, 2000, pp. F18. ProQuest, https://www.proquest.com/newspapers/movie-review-allure-geisha-sword-samurai-taboo-is/docview/421575003/se-2?accountid=168104.

Abel, Jonathan E. “Otaku and the Struggle for Imagination in Japan by Patrick W. Galbraith (Review).” The Journal of Japanese Studies, Society for Japanese Studies, 28 July 2021, https://muse.jhu.edu/article/799777/summary.

Hall, P. (2010, Sep 01). Gintama: Collection 1. The Video Librarian, Retrieved from https://www.proquest.com/magazines/gintama-collection-1/docview/1976803078/se-2?accountid=168104

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