Media forms such as anime are often articulated as part of “Japanese popular culture” and even proclaimed as the “pride of Japan.” Critics have scrutinized how the Japanese state has utilized such media forms to promote the national brand of Japan. However, I argue in this paper that the promotion of a national brand necessitates the even more fundamental work of branding particular media forms as those of the nation of Japan. This work can be observed at anime-focused conventions that are held both within and outside Japan and that involved the collaboration between Japan’s media industries, advertising firms, and even state agencies. Drawing on field observations at the Anime Festival Asia in Singapore and AnimeJapan (Tokyo), I examine how these conventions operate to define, naturalize, and lay claim to anime and its convergence with other popular media as essentially “Japanese.” Part of this naturalizing work involves the circulation of discourses concerning intellectual property, which provides the legal structure that helps to hold in place the “Japaneseness” of these media forms. Invoking the capitalist notion of ownership through copyright discourses, Japanese state and businesses reduce and bind these media forms to a single national origin, erasing the fact that they are dependent upon the transnational labor of workers and audiences, spread especially across Asia. Through the examination of the discursive operations that constitute these conventions, it will be demonstrated that cultural and brand nationalism works in tandem with the copyright regime.