As new digital technologies proliferate, tension between consumers and corporations has increased due to the new challenges confronting entertainment industries. Historically, the anime industry has leveraged the activities of fans through strategic ignorance in order to grow the foreign market in the United States. I am interested particularly in exploring how these fan communities functioned as proselytization commons to develop this market -- that is, how their illegal activities actually created growth and benefits for the industry. These fan activities, however, have also created pressures and potential harms for the industry by demanding a departure from a traditional physical-media business model. Furthermore, since anime fandom is an especially participatory community, rights-holders will increasingly be faced by more unauthorized reproductions of their works and expectations from fans of the ability to engage with this content. I have chosen my sources in order to reflect the multi-faceted perspectives currently competing in the debate over how to balance the interests of creators and fans. In my paper I will examine anime fandom and its relationship with the anime industry as a paradigmatic case of a "hybrid economy," where balance is achieved through cooperation between both groups in order to maximize the benefits of fan engagement while minimizing the harms.

Henry Jenkins has emerged as the leading scholar on fan communities and participatory cultures.  In specifically addressing anime fansubbing communities, Jenkins presents a familiar argument of piracy actually serving as a promotional activity for anime properties.  He notes that by the Japanese anime industry being tolerant of grassroots activities in the United States, “much of the risks of entering the Western markets and many of the costs of experimentation were borne by dedicated consumers.”  This tolerance of fan activities represents part of a Japanese cultural tradition that permits expansion and engagement with media properties.  For example, manga artists and studios have permitted the appropriation and infringement of their copyrights by amateur artists in the doujinshi market.  Rather than viewing these activities as a threat to the value of their properties, Japanese companies have recognized that collaborative structures are important in “developing compelling new content or broadening markets.”

As other scholars such as Leonard and Kelts have noted, anime fandom helped build up a structure for an American market through experimentation with unfamiliar content and promotion of niche titles.  Jenkins's analysis of how companies must balance fan engagement along with protection of their properties is particularly relevant to the ongoing controversy in anime fandom between fansubbing groups and licensing companies.