In Women, media and consumption in Japan, edited by Lise Skov and Brian Moeran, 220-254. São Paulo: Universidade Federal de São Paulo, 1: 288-307.), the relationship between cuteness and gender ( Kinsella 1995 Kinsella, Sharron. Anais do Encontro Internacional de Pesquisadores em Arte Oriental. Journal of Japanese Studies 24 (2): 289-316. Japanese subculture in the 1990s: otaku and the amateur manga movement. The academic literature on these issues focuses on: analyzing cute culture ( Kinsella 1998 Kinsella, Sharron. Georgia Journal of International & Comparative Law 44: 195-236.). Regulating lolicon: toward Japanese compliance with its international legal obligations to ban virtual child pornography. “Lolicon: the reality of ‘virtual child pornography’ in Japan”. Debates about the desirability and existence of these materials have been polarizing with individuals placing them as expressions of free speech and sexuality, while others call for their criminalization and prohibition 3 3 As Japanese pop culture can be centered on a notion of cuteness, these fictitious characters are often drawn in ways to look cute and young. This pornographic subgenre of pop culture can be heavily focused on sexual violence and fictitious depictions of children in animation, comics and video games. This world centered on fantasy and on cuteness has a wide variety of genres including pornography and violence. Beyond ‘kawaii’ pop culture: Japan's normative soft power as global trouble-shooter. Journal of Global Media Studies 1: 17-29. Tokyo pop culture as a transformative culture. Since the 1980s, Japanese popular culture has continued to grow as a relevant global commodity and an increasing aspect of Japan's soft power ( Kawasaki 2007 Kawasaki, Kenichi. Non-East-Asian names follow the traditional Western standard of given name followed by the family name. Japanese names follow the Japanese standard naming starting with the family name followed by the given name. The views expressed herein are those of the author.
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