Gen Z and Millennials' Perception towards Japanese Animation

A Research Proposal
Presented to the Faculty
Of the Graduate School Education
THE RIZAL MEMORIAL COLLEGES, INC..

In a Partial Fulfillment
Of the Requirements for the Degree
MASTER OF ARTS IN EDUCATIONAL MANAGEMENT

JERGEN BLANCHE V. DOMERO

2021
 CHAPTER I
The Problem and Its Setting

Introduction

Japan is also known as the land of the rising sun. There are many things that

Japan is famous for and one thing they are known for is Japanese Animation. Anime

is described as a type of animation that was created and produced by the Japanese

people. More often, they are not drawn by hand and there are also themes and art

styles that will be the same with all other animations (Arcenas & Goh, Anime

manifested 2017). It has become one of the best resources nowadays that tells

stories in an animated form that contrast against the traditional cartoons (How has

Japanese anime influenced the world?). Most of the generation z and millennials

today have taken a liking to watching and reading Japanese animation especially the

Filipino citizens. In fact, according to Bautista (2019), there is evidence of strong

fandom culture in anime and cosplay in the Philippines.

With that being said, the researchers aim to know and determine the

perception of Generation Z and Millenials to Japanese Animation. Moreover, the

researchers’ purpose of the research is to assess how Japanese Animation helps

these groups of people to cope up in this ongoing Covid 19 pandemic.

This survey design will be beneficial to the following sectors: the local

government, the society, and future researchers. The results of this study will

integrate prosperity to the local government in crafting programs that can improve

the connection of the Japanese and Filipino people when it comes to their culture.
The results of this survey will also serve as an eye-opener to society on how

Japanese animation helps individuals perceive day-to-day life. The people of the

community can realize and understand better the point of view of individuals who

consume the particular content. Lastly, this survey design will become a guide or

basis for future researchers when they study more about the concept of Japanese

Animation.

Operational Definition

Japanese Animation: A style of animation that has colorful graphics that depict the

character in action-filled plots. This originated in Japan (Anime).

Millennial: They are individuals who are born in 1981 to 1996 (Dimock, 2021).

Generation Z: They are individuals who are born from 1997 to 2015 (Dresden et al.,

2021).

Statement of the Problem

This study will be conducted to be able to further investigate and emphasize the

perception of Generation Z and Millennials to Japanese Animation.

Specifically, it sought to answer the following questions:

1. What are the perceptions towards Animation of the following:

a) Generation Z

b) Millennials

2. Does Japanese Animation help Generation Z and Millennials cope up in this

ongoing Covid 19-Pandemic?

3. Is there a significant difference in the Perception towards Japanese Anime

between Generation Z and Millennials?

Hypothesis

The hypothesis will be raised in the study and will be tested on its level of

significance.

H0: There is no significant difference in the perception towards Japanese Anime

between Generation Z and Millennials.

 CHAPTER II

Methods

Subject

The subjects of the survey design will include the individuals from Generation

Z (ages 18-24 years old) and Millennials (ages 25-41 years old) all over the

Philippines who enjoy and like watching Japanese animation.

Sampling Technique

The sampling techniques to be used in the survey design are the non-probability

purposive sampling and quota sampling. The purposive sampling is where the

participants are intentionally selected based on the given qualifications: (1) The

participants must be 18-41 years old, (2) The participants watch anime, and do any

of the following: collect anime figurines, read manga, and participate in cosplay. The

quota sampling takes purposive sampling one step further where the researchers will

decide how many people to include from each subgroup and then will collect data

from that number for each subgroup (10.2 sampling in qualitative research –

Scientific inquiry in social work, 2018). In that case, the Generation Z and Millennial

respondents will be divided equally to achieve more accuracy in the research design.

The data of who will be the respondents will be gathered through a survey poster

that will be posted on Facebook.

Materials

In this section, it includes all the materials, tools, and equipment needed for the

survey research to be conducted.

● Google forms - an online platform to be used for the survey questionnaire

● Microsoft Excel- a spreadsheet program to be used for the cross-tabulation

Procedure

1. A survey questionnaire through Google forms will be constructed in order to

gather

information about the participants’ perceptions regarding the topic.

2. These questions will be presented to the instructor for consultation.

3. After the validation of the expert in conducting the research design, the

researchers will

inform the potential participants on what the study is all about, the objectives of the

study, and the survey confidentiality via Facebook post the researchers will carry out

as well as through private messaging individuals the researchers selected based on

who qualified on the given criteria.

4. The researchers will provide them the survey type of questionnaire through the

use of

Google forms.

5. After the data collection, the researchers will analyze and summarize the results of

the

survey.

Statistical Treatment

The statistical tools that will be used in this study sre the following:

● Frequency -a measure of the number of occurrences of a particular score in a

given set of
data (Frequency table - SAGE research methods, 2010).

● T-Test - where the researchers tested whether there is a significant difference in

the

perception of Generation Z and Millennials towards Japanese Animation

Related Literature

This section of the study offers the related literature and studies that the

researchers

have taken into consideration after doing a thorough and in-depth search to

completely have a foundation for the research to be conducted and better

comprehend the study. The following literature reviews and studies are aimed at

determining the impression of generation z and millennials towards Japanese

animation. Japanese animation is also known as Japanese cartoons or anime

(Drazen, 2014). It is often not drawn by hand and also there are the same themes

and art style in animation (Arcenas & Goh, Animemanifested 2017). It is all about

how the materials are produced rather than the genre itself (Yegulalp, 2018). In

addition, anime is the most famous Japanese word that was used in English (Martin,

2012). Also, anime can be plotted as romance, tragedy, comedy, and satire

(Clements, 2019). It can be a feature-length film or OVA (Original Video Animation)

or anime that was released on laserdisc (Newitz, 1994). Anime is at once a uniquely

Japanese art form and a valuable classroom tool. Students are often already

invested in or excited about the genre, having encountered it in their everyday lives

(Pokémon and Yu-Gi-Oh are some popular examples). Even for those students who

have not previously encountered anime, the perceived accessibility of animated films

and the exciting technology used for creating animations can serve to invest

students in the material (Ruble & Lysne, 2010).

In most parts of the world, Japan is viewed as a futuristic nation with the rarest

technologies. On the other hand, Japan is happy to showcase its blend of technology

and media culture, defined mainly by its popular anime and games. Beyond borders,
anime is considered a style created by the Japanese, though it really came about as

a shorter form of the word animation. Anime is the core of Japan’s global media

fanbase, thanks to its uniqueness.

Today, Japan contributes a significant portion of the global film market. The

anime culture has grown so massive that you will most certainly come across its

symbols, shapes, and images in random places and objects, including school buses

and railway stations. The culture is no longer associated with kids’ entertainment but

rather a tradition after productions diversified to specific demographics (The growing

popularity of Japanese anime branding, 2021).

Anime was all started in 1917 in the age of silent films, wherein Japan began

producing animation through cutout animation techniques trial and error and it was

based on the animated shorts from France and the United States. But they faced

many battles from the start until January 1, 1963, Fuji Television broadcasted a 30

minutes animated television series that was called Tetsuwan Atomu or Astro boy that

became a surprise hit, and this success began the starting line of the anime industry.

After that the anime industry went into recession that was caused by larger economic

issues such as the Nixon shock in 1971 and the oil crisis in 1973. In 1974, there was

an animated TV series produced titled Uchu senkan Yamato and a feature film in

1977 that became a social phenomenon that were famous to millions of adults

(Yasuo, 2013).

Creative industries around manga, anime and video games contribute

decisively to the global collective imagination. Anime has been perceived as an

international phenomenon since the end of the 1970s when it reached TV markets all

over the world. Since then, the persistence of Japanese visual narratives can be
seen in the multitude of forms their products take as well as the diversity of the

agents and locations of those products’ consumption: the Southeast Asian markets,

the social base of European and American television audiences from the 1980s and

1990s, online streaming contents, American and European art-film circuits, a myriad

of local adaptations and even transfections, illegal distribution, etc.(Daliot-Bul &

Otmazgin, 2017; Schodt, 1996; Pellitteri, 2010, as cited in Hernández-Pérez, 2019).

It has been globally accepted because it is in the global market. In fact, Japan is the

largest exportation of animation in the market (Benino & Tayag, 2014). In the

Philippines, Japanese Animation has a bad reputation and was criticized for being

too violent to the children. President Ferdinand Marcos banned Japanese Animation

since he received various complaints. After the end of the Marcos regime in 1986, it

was reintroduced in the Philippine Television but not clearly identified if it came in

Japan.

Yet the viewers managed to find some ways that these shows came from

Japan. In 1998, a Philippine Television Channel GMA 7 brought back the banned

Japanese Animation since this is part of the campaign entitled We are Anime that

have an objective to feature Japanese animation and because of this it became the

start of Japanese culture becoming famous (McLelland, 2018). On its part of the

audience, artistry and unique storytelling because of this, there are many influences.

For instance, there are some anime series that were Filipino dubbed, also many

Filipinos went to Japan to experience the culture (Pellitteri & Wong, 2021). US

cartoons, Japanese anime also shape and influence Filipino viewing habits (Moran &

Keane, 2009). Also, there are some anime fans who join Japanese lessons because

of the anime itself (Calunsod, 2017). It was supported that anime itself motivates the

student to learn Japanese (Chan et al., 2017). Not only that, it has the effect of
relieving psychological pressure on young adults. Modern society causes many

young adults to face increasing pressure and through Japanese animation, they

relieve and release the pressure. It also cultivates young people who are not afraid

of setbacks and through viewing Japanese animation, the young adults have an

understanding and deeper knowledge of Japanese culture (Lu & Zhang, 2019). Also,

it has been found out that Japanese Animation didn’t turn the viewers into someone

else and it is also revealed that Anime Fans how they feel bad to hurt other people

and they base this value on the anime (Redaelly, 2019). Also, there is an anime

convention that was held a place where the fans can meet each other, gather to buy

some merchandise or try cosplay-which came from the word costume play and there

is some cartoons in the other country develop the same style with anime, for

instance, is The Last Airbender of western animation (How has Japanese

anime-influenced the world? 2015).

Furthermore, there are just some of the many ways in which anime products have

been consumed over the last decades. This diversity entails differentiations between

scholars’

reflections on these industries that are no less complex. As it has been pointed out,

in the case of manga and the treatment of Japanese content industries may well

differ depending on the “cultural contexts” of both audiences and researchers.

(Berndt, 2008; Hernández-Pérez, 2019) Many stated that animation is just for kids

and not for adults but when it comes to Japanese animation, the themes and stories

are not just for children but also for teenagers and adults. As they continue to watch

Japanese animation, there are three, it never fails to make people laugh, the themes

of the animation are usually based on tradition and real-life that the people can’t help

but relate to and it is filled with knowledge (Guo, n.d.). Some stated that their
perception is that they are fans of it and the colors, style, and art are most appealing

to them, yet there are others who are not a fan of it and discuss that Japanese

Animation is just for kids (Patterson, 2015). In Thailand, it was said that Japanese

anime has a good storyline that captures the viewers and it contains some moral

lessons and knowledge latency (Tongdhamachart, 2015). Overall, Japanese

Animation did bring relatable characters that people in all generations can relate to;

many of them perceived that the characters in Japanese Anime films are more than

just fiction (Niblock, 2016).

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