This thesis is aimed at the ever-growing phenomenon in today’s society, and that is the influence of code-mixing within a specific culture and the effects that emerge within it. More precisely, given the fact that the English language is commonly referred to as the lingua franca of the world, this thesis will serve as a nexus between the English and the Japanese language, as the Japanese anime culture is slowly, but nevertheless steadily, being accepted throughout the world. The pivotal point of the thesis is the code-mixing in a Japanese anime, which is substantiated through the works of Pieter Muysken and Sarah G. Thompson, as well as those of Sadao Asada, Roy D’Andrade, Robert M. McKenzie and others. Additionally, through the works of Paul Varley, James Stanlaw, Albert C. Baugh and Thomas Cable a broad historical background of both English and Japanese will be given. The thesis itself is divided into two parts, the former being dedicated to the theoretical background and explanations of the term “code-mixing”, as well as additional information regarding the cultural connection between English and Japanese. The latter part, i.e., the practical part, will focus on presenting the situations in which the process of code-mixing occurs. Furthermore, 26 Japanese songs which were specifically made for the Japanese anime Naruto: Shippuden will be analysed in order to establish a connection between the two languages in the form of code-mixing. The cases of code-mixing found within the songs will be divided into groups depending on the total number of words used, word class, and whether it is a single word, a few words within the Japanese sentence, or if the sentence is completely in English.