Feeling Asian modernities: Transnational consumption of Japanese TV dramas
Abstract
The recent transnational reach of Japanese television dramas in East and Southeast Asia is unprecedented, and not simply in terms of the range and scale of diffusion, but also of the intense sympathy many young Asians feel toward the characters in Japanese dramas, so that they cope with their own modern lives by emulating the lives on screen.
... Though these films did not succeed commercially, they have gained devoted transnational fans that are fascinated by the films and that use these films to engage with said changes. This paper uses an aspect of fan studies proposed by Koichi Iwabuchi (2002;2004) to help articulate the relationship between sociopolitical transitions in Southeast Asia and the media consumption of Thai and Burmese fans. ...
... Subsequently, it draws on Koichi Iwabuchi's work on transnational media consumption, particularly his notions of modernity and nostalgia that resonate in media representations and fan engagements. In his edited book Feeling Asian Modernities: Transnational Consumption of Japanese TV Dramas, Iwabuchi (2004) argued that the popularity of trendy Japanese dramas in Asia arose from the changes of Asian countries from traditional to modern societies. Watching trendy Japanese dramas that portray modern male and female characters, young Asian audiences attempt to reconcile their traditional values with the complexity of modernity. ...
... This reaction is comparable to how Asian viewers react positively to Japanese TV dramas. As Iwabuchi (2004) argued: ...
This paper explores representations of identities and fandom in two Southeast Asia border-crossing films, Myanmar in Love in Bangkok (2014) and From Bangkok to Mandalay (2016). Both films have already been exhibited in Thailand and Myanmar and have gained a huge following in both countries. Myanmar in Love in Bangkok portrays a contemporary migrant situation: It is a love story between a male Burmese migrant worker and a Thai woman played by Kaew Korravee, a Thai leading actress who has become famous in Myanmar because of her portrayal of this modern and unconventional character. Alternatively, From Bangkok to Mandalay, which notably presents Burmese and Siamese cultural heritage, has successfully created a feeling of nostalgia among the Thai audience, resulting in fan tourism to Myanmar. Comparing these two cases, I argue that consuming modernity and nostalgia are the main driving forces of the cross-border representations and their subsequent fandom. This paper also engages with the existing fan studies framework put forward by Koichi Iwabuchi and extends the studies of transnational fans further by considering the Southeast Asian sociocultural context.
... High school settings are vital to this genre and dorama production. Seishun dorama themes revolve around friendship, first loves, and dreams, which many viewers can relate to (Iwabuchi, 2004). Kinpachi-sensei, a famous dorama, has starred members of the Tanokin Trio, Shun-suke Kazama, KAT-TUN, and Hey! Say! JUMP. ...
... Kinpachi-sensei, a famous dorama, has starred members of the Tanokin Trio, Shun-suke Kazama, KAT-TUN, and Hey! Say! JUMP. Seishun doramas cultivate transnational imagination and a self-reñection toward one's own culture and society (Iwabuchi, 2004), and they have successfully transcended across international audiences. Iwabuchi's assertion is reflected in several fans' discovery stories of Janīzu from seishun dorama, as follows: Shiritsu Bakaleya Koukou (Bakaleya) and Nobuta wo Produce are popular seishun doramas starring Johnny's idols. ...
... Tsukasa Domyōji's naivety and his strong feeling for the girl attracts the female audiences to the actor who plays the character (Harris & Ferris, 2011). The young audience also feels an intense sympathy toward another Romeo and Juliet character (Iwabuchi, 2004). This leads to the discovery of his idol group, Arashi. ...
This chapter explores participation and co-production in affective media experiences in Johnny & Associates' online fan communities. Johnny & Associates is a Japanese all-male talent management company established in the 1960s. As a pioneer in the idol industry, Johnny & Associates and artists under its management have been highly influential in the contemporary Japanese entertainment industry. These artists are collectively known as Johnny's idols or Janīzu. Much of the data are collected through participant-experiencer and interviews. The originality of this case study stems mainly from the empirical data for Johnny & Associates, Janīzu, and the global fan base during Johnny & Associates' transition to a social media platform. This chapter analyses marketing strategy, audience awareness, and behaviour in relation to a mass media phenomenon. The complex interaction among Johnny & Associates, Janīzu, and fans generates tensions and contradictions that mirror the modern mediated life.
... This move demonstrates that they do not idolise the Western administration and standardised system, for example, by not imposing English as an important main language, as Malaysia, India, and Singapore have done. Japan even goes so far as to establish their own international standard and instil their own identity in order to represent their culture while projecting an image of superiority among Asian countries (Iwabuchi, 2004;Saito, 2019). They established a standard for political, economic, and cultural sophistication and influenced neighbouring East and Southeast Asian countries, particularly and obviously in the cultural sphere, through the media. ...
... Attempting to build their own identity to portray their own sense of modernity in their culture, Japan had created new form of entertainment products, for example their drama series that does not conform to the conventional soap opera style, which mostly depicting family affairs and love crisis with heavier emotional impact and struggle. In contrary, the newer original version of Japanese drama series or known as "trendy drama" and "Japanese idol drama" in Hong Kong and Taiwan, depict more on the stories of youth urbanised and glamorised lifestyle with modern cities background and trendy fashionable clothes and accessories (Iwabuchi, 2004). These elements accentuate the Japanese ideology of modernised world lived by younger generation and able to attract and persuade audiences into believing that this is the kind of global standard of today's culture. ...
Media and cultural globalisation have progressed to a new level of development and penetration in the age of ubiquitous media technologies and applications. While powerful missionaries of global media culture have penetrated and integrated various media markets, the development of East Asian media cultural production and inter-Asian media production and consumption has become apparent. These developments, on the other hand, enable the disguising of anti-ethnocentric patterns of cultural production, circulation, and connection as globalisation. This eventually invites dialogic connections among people from different regions. In the context of the uneven globalisation process, this article critically reviews the rise of East Asian media culture production and how inter-Asian connectivity plays its role in limiting symmetrical cultural exchange within Asia. The debate spans two of East Asia's most powerful media imperialists: Japan and Korea, as well as their transnational media and culture industries and how they started. The methodology used is literature review and observation, which leads to findings based on secondary data. Arguments on the impact of their advancement also discuss the effects of the media and cultural swapping on their Southeast Asian counterparts based on past research. In future studies, researchers must investigate the unevenness and inequality in the inter-Asian mass culture network, particularly their impact on Southeast Asian countries, where upcoming research can collaborate transnationally with various social actors to advance inter-Asian media culture connections in a more democratic and dialogic manner.
... di negara ini. Menurut Chua dan Iwabuchi (2008), dan Iwabuchi (2002;2004), konsep kedekatan budaya merupakan antara penyumbang utama kepada kejayaan J-pop pada dekad 1990-an dan pendekatan yang sama telah digunakan untuk menaikkan populariti K-pop di negara ini dalam konteks semasa. Populariti mendadak budaya popular di kebanyakan negara Asia seperti Malaysia, Indonesia dan Thailand telah menyaksikan konsep kedekatan budaya digunapakai dengan berkesan terutamanya dalam proses penggunaan teks budaya. ...
... Namun, persoalan yang sering ditimbulkan oleh para sarjana ialah apakah faktor utama yang menyumbang kepada populariti budaya popular Korea Selatan di kebanyakan negara Asia Tenggara termasuk Malaysia? Antaranya termasuklah elemen kedekatan budaya (Iwabuchi, 2002(Iwabuchi, , 2004 yang menerangkan bahawa khalayak cenderung untuk memilih pemaparan yang mempunyai persamaan yang lebih kurang serupa dan menjarakkan diri mereka terhadap isu yang dirasakan kurang sesuai ketika proses pencernaan teks budaya berlangsung. ...
ABSTRAK Populariti K-pop dalam kalangan wanita Melayu mendapat kritikan pelbagai pihak yang melihat kecenderungannya untuk menghakis budaya masyarakat Melayu serta menyalahi nilai-nilai Islam-dua elemen penting dalam projek kemodenan Malaysia. Contohnya, penyertaan wanita Melayu meratapi kematian artis K-pop popular Kim Jong-Hyun serta kontroversi perlakuan artis berkumpulan Korea-B1A4, memeluk tiga orang gadis Melayu bertudung di Kuala Lumpur telah menerima kecaman khalayak awam dan pihak berkuasa Islam. Keadaan ini telah menimbulkan suatu polemik mengenai K-pop yang dianggap bertentangan dengan idea kemodenan Malaysia. Justeru, artikel ini berhujah bahawa wanita Melayu menggunakan K-pop sebagai suatu platform untuk menyesuai dan menimbangtara aspirasi kemodenan global dengan amalan ketidakpatuhan strategik yang dipamerkan menerusi kepelbagaian pandangan dalam lingkungan kapasiti peribadi dan sebagai ahli kepada kumpulan peminat tempatan. Misalnya, insiden ini telah mendapat perhatian Jabatan Kemajuan Islam Malaysia (JAKIM) dan Jabatan Agama Wilayah Persekutuan (JAWI) yang menganggap perlakuan tersebut sebagai bertentangan dan menyalahi hukum serta nilai-nilai Islam. Kajian ini menggunakan pendekatan analisis tekstual bertema secara kualitatif dan menumpukan perhatian kepada kepelbagaian pandangan dan tafsiran khalayak mengenai K-pop dalam bentuk komen yang terpapar dalam media sosial seperti Twitter dan YouTube serta dua portal berita popular iaitu The Star dan Free Malaysia Today (FMT). Dapatan kajian akan dianalisis menerusi dua tema penting-pengawalan kendiri dan keterbukaan terpilih-yang menjadi dapatan penting dalam mengukuhkan konsep ketidakpatuhan strategik yang menerangkan populariti K-pop dan penggunaannya dalam kalangan wanita Melayu. Kata kunci: K-pop, wanita melayu, budaya popular, Islam, kemodenan.
... Este formato televisivo fue incorporado y adaptado para satisfacer las necesidades de las redes de televisión de otros países del este y del sudeste asiático, como denota el expresivo caso surcoreano, que hoy es uno de los principales productores de dramas de televisión del mundo, así como uno de los que más exportan. Los países como China, Hong Kong, Taiwán, Filipinas y Tailandia también pasaron a emular el formato, pasando a producir sus propios dramas de televisión nacionales (Dissanayake, 2012;Iwabuchi, 2004;Martel, 2012). La nacionalidad es una característica bastante relevante en los dramas de TV que, a partir de la marca local ganaron nomenclaturas propias (tabla 01). ...
... La diversidad existente en este contraflujo en el contexto de los países del Extremo Oriente puede ser percibida inicialmente a través del cine asiático, especialmente el de Hong Kong en la década de 1970, seguido de las animaciones japonesas que, también se volvieron bastante conocidas internacionalmente en la década de 1990 y por último, acompañada por las producciones del cine surcoreano que, pasaron a tener bastante visibilidad en el mercado global a partir de los años 2000. Más recientemente, los dramas de televisión, formato televisivo compartido entre los países del este y del sudeste asiático(Ang, 2004(Ang, , 2007Dissanayake, 2012;Iwabuchi, 2004), pasaron a figurar en el mainstream del mapa de los flujos de la cultura Además de La Televisión Occidental: una radiografía del circuito de los dramas de TV en Netflix Brasil ...
El objetivo de este apartado, por lo tanto, es presentar un panorama de
la producción audiovisual oriental disponible en Netflix BR - a partir del caso
de los dramas de TV - buscando discutir los desafíos y las oportunidades
que se presentan para la cultura mediática contemporánea en el mundo
multipolar. Nuestra apuesta es que la mediación reciente proporcionada por
plataformas licenciadas de streaming de películas y series como la de
Netflix, promueven una mayor expansión y visibilidad global del contenido
audiovisual producido en el contexto de las industrias televisivas de los
países del Extremo Oriente, coexistiendo con estrategias tradicionales (e
informales) de mediación desarrollada y consolidada por los fans de tener
acceso a esas producciones, sobre todo, a través del ambiente de las redes
digitales.
... Love Story which was consumed widely in Asia (Iwabuchi, 2002;2004). While being the biggest television group in Japan, the group's overseas sales account for less than 1% of its total sales. ...
This paper addresses rarely asked questions: is Cool Japan a creative industries policy and, if so, what kind of creative industries policy is it? It addresses these questions by examining Cool Japan's differences from the UK derived and globally very influential creative industries model. The paper will try to make sense of these differences by looking at how the Japanese creative industries comprise businesses of different sizes with a varied history and prestige, how those companies have complex and contrasting relationships with various state organisations, and how the forces of globalisation and its free-market and neo-liberal economic ideologies affect companies in various sectors differently. This will challenge the dominant narrative of Japanese Creative Industries and Cool Japan in which, it is generally believed, the former embraces globalisation and digitalisation, and the latter is responsible for broadening the appeal of Japanese popular culture abroad. This paper reveals the complexity and diversity of the creative industries from socio-cultural and politico-economic perspectives often overlooked in the Cool Japan discourse 1
... Yet, the increased cross-border flow of capital, media, and people gradually rebuilt and expanded a regional circuit of cultural content. Throughout the 1980s and 1990s, Japanese cultural content-video games, pop music, TV shows, and animation, among others-rapidly expanded its presence across Asia and beyond amid the country's postwar revival and the regional expansion of Japanese MNCs (Craig 2000;Iwabuchi 2004). The pan-Asian popularity of Hong Kong films also grew as the industry actively pursued expansion across Asia in the face of its inability to access the mainland Chinese market (Shim 2020). ...
This article examines regional cultural flow from a global value chain (GVC) perspective, focusing on South Korea's engagement in cultural flow in East Asia. The article argues that the regional flow of cultural and media content has been complicated as a result of the growing fragmentation of value chain activities and rising emphasis on localization. It allows for varieties of corporate strategic options for regional engagement beyond the traditional mode of exporting finished products. This article presents an analytic framework to examine such varieties, based on the GVC approach. Three emerging modes of regional cultural flow that depart from the export model -- the new international division of cultural labor, format trade and international coproduction -- are illustrated with the examples of Korean firms' engagement in regional cultural flow, mainly with China. The implications of the framework and the case illustrations are discussed in relation to regional cultural flow in East Asia.
... Ergenc claimed that the serials' success was due to Turks and Arabs having a shared history and that Turkish shows represent the East and the West as well as a feeling of being cosmopolitan, which, according to him, resonates with Arab audiences. Iwabuchi (2004) notes that a survey on the reception of Japanese dramas in Hong Kong found that audiences favored these dramas because they were perceived as more "believable, have similar hair color, fashion, and way of life" (p. 102). ...
This research examines the importance of cultural similarities in the appeal of Turkish drama serials in Qatar. The cultural proximity theory is used as an analytical tool to identify the factors that facilitate the attraction and appeal of Turkish television dramas given the cultural and historical relationship between Arabs and Turks. The study centers on university students from various Arab backgrounds who are being educated at elite American universities within Qatar's Education City Campus and applies a mixed-methods approach of focus group discussions and online surveys.
... For example, while Taiwanese fans feel a sense of "cultural proximity" towards the modern life portrayed in Japanese pop culture (Iwabuchi, 2002, p. 122), Japanese audiences projected a sense of nostalgia when receiving pop culture imported from the rest of Asia (Iwabuchi, 2002, p. 159). Spurred by the popularity of Japanese drama in Asia, Iwabuchi convened arguably the first international conference on East Asian pop culture in 2001, and its outcome was published into a book Feeling Asian Modernities: Transnational Consumption of Japanese TV dramas (Iwabuchi, 2004). ...
... Digital media, and especially social media, are often seen in research as factors that have brought about revolutionary changes -whether as part of media convergence, as a means of connecting the audience, or as a tool for tourism marketing. For example, TV series from Japan are increasingly spreading through Asia and beyond thanks to digital technology -through legal channels, of course, but maybe even more through fan networks that share recordings and create subtitles ( Iwabuchi, 2004 ;Hu, 2005 ) -and it has become easier for fans to connect transnationally. "User-generated content" now has the potential to be received by a large number of people and is often considered more credible than what is distributed via conventional media, making it an important factor in the field of tourism. ...
Japanese morning drama series (asadora) are considered one of the “flagships” of Japan’s state broadcaster NHK, because this format has barely changed since its start in the 1960s and still attracts millions of viewers every morning. In this chapter, we investigate the origins of tourism induced by these morning drama series, its first peak in the 1980s, and its development until today, while drawing on the case studies of Oshin (1983/1984) as an example of the analogue age and Amachan (2013) as an example of the digital age, which both are widely regarded as two of the most successful and popular morning drama series. We will show, however, that media convergence and fandom activities were already very common before digitalization. Furthermore, both series transformed their rural filming location into a touristic resource and established a long-lasting connection to the respective media content. Besides their popularity in Japan, the two series were also spread outside of Japan as a means of soft power, and while Oshin gained attention even in the United States, Amachan became very popular in East Asia. Open Access: 10.4324/9781003045359-11
... What is the role of film festivals in this changing context? Academic research on this question has focused mainly on the dissemination, reproduction and consumption of Japanese and South Korean audiovisual production in English-speaking and Intra-Asian contexts (Chua & Iwabuchi, 2008;Iwabuchi 2004;Kim 2008Kim , 2013Kim , 2019, while their reception and impact in the Spanish-speaking world has been largely overlooked. In an effort to shed some light on these questions, in this edition of (Dis)Agreements we turn to the festival directors, whose role we believe to be decisive for the circulation of Japanese and South Korean films in Spain. ...
Continuing with the investigation of the monographic about the porosity of our audiovisual regarding its Japanese and South Korean counterpart, in the section of (Dis)agreements we congregate the people in charge of the most relevant festivals for the circulation of these cinemas inside the Spanish
territory to monitor the situation from their role as gatekeepers of these cinematographies. Quim Crusellas and Domingo López (director and programmer, respectively, of the Festival
Nits Cinema Oriental de Vic), Menene Gras (director of the Asian Film Festival of Barcelona), José Luis Rebordinos (director of the Donostiako Nazioarteko Zinemaldia in Donostia) and Ángel Sala (director of the Sitges Film Festival) answer to the questions posed by Guillermo Martínez Taberner and Antonio Loriguillo-López on facets of the circulation of these films, the evolution of the Spanish audiences, or the irruption of video on-demand platforms.
... ¿Cuál es el papel de los festivales de cine en este cambiante contexto? La investigación académica sobre este tema se ha centrado principalmente en la diseminación, reproducción y consumo en el contexto anglosajón e intrasiático (Chua e Iwabuchi, 2008;Iwabuchi 2004;Kim 2008Kim , 2013Kim , 2019, descuidándose el análisis de su recepción e imbricaciones en el ámbito hispanohablante. Para tratar de arrojar luz sobre estas cuestiones acudimos en este (Des)encuentros a los actuales responsables de festivales, cuyo papel consideramos decisivo para la circulación de los cines de Japón y Corea del Sur en España. ...
Siguiendo con la indagación del monográfico sobre la porosidad de nuestro audiovisual con respecto a su contraparte japonesa y surcoreana, en la sección de (Des)encuentros congregamos a los responsables de los festivales más relevantes para la circulación de estos cines dentro del territorio español para monitorizar la situación desde su papel como puerta de entrada de dichas cinematografías. Quim Crusellas y Domingo López (director y programador, respectivamente, del Festival Nits Cinema Oriental de Vic), Menene Gras (directora del Asian Film Festival de Barcelona), José Luis Rebordinos (director del Donostiako Nazioarteko Zinemaldia de Donostia) y Ángel Sala (director del Festival Internacional de Cinema Fantàstic de Catalunya de Sitges) responden a las cuestiones planteadas por Guillermo Martínez Taberner y Antonio Loriguillo-López sobre facetas de la circulación de estas películas tan dispares como la evolución del público español o la irrupción de las plataformas de video on-demand.
... Within the Chinese-speaking world, Japan has often been posited as the most proximate "alternative modernity" within East Asia (Iwabuchi, 2004). This perception among Chinese people has ensured that Japanese products, from food to fashion brands, are generally praised as trustworthy, often in contrast to Chinese products. ...
Trade and consumption of food in the Sino-Japanese context connects the two countries’ tense political relationship to the everyday lives of its citizens. Previous research has shown how food-related incidents have imbued Sino-Japanese relations with political and moral discourse that connects security concerns to everyday fears. This article explores how young Chinese people in Japan navigate multiple moral economies related to food. Through analysis of “products” ( chanpin/shipin) and “cuisine” ( cai/liaoli), this article shows the differing meanings of Chinese moral economies of food from the perspective of young Chinese people living in Japan. In the Sino-Japanese context, products embody more metonymic and nationalised values associated with modernity, whereas the metaphoric possibilities of cuisine afford young Chinese people to negotiate dominant moral economies of food in Japan. Using this example, I argue that greater semiotic attention needs to be paid to the multiple meanings of food and its moral economies.
... Sein umfassendes Forschungsgebiet deckt Musik, Kunst, Medien und soziale Bewegungen ab (Môri 2003). Kôichi Iwabuchi (*1960) arbeitet heute nicht mehr in Japan, sondern in Australien, wo er sich mit dem Kreislauf von Produktion, Verteilung und Konsum populärkultureller Erzeugnisse aus Japan und anderen asiatischen Ländern im gesamtasiatischen Raum auseinandersetzt (Iwabuchi 2002(Iwabuchi , 2004. ...
Das reflexive Erkenntnisinteresse an „Kultur“ als Ursprung der Kultursoziologie lässt sich in Japan in der Taishô-Zeit (1911–1925) verorten, in der die modernen massenmedialen und -kulturellen Phänomene entstanden sind. Nach dem Scheitern der völkischen „Soziologie der japanischen Kultur“ mit dem Zusammenbruch des totalitären Regimes – damit ist das Regime nach dem Inkrafttreten des Gesetzes zur nationalen Generalmobilmachung von 1938 bis zur bedingungslosen Kapitulation des Großkaiserreichs Japan von 1945 gemeint – erfolgte die Erforschung der Massenkultur zuerst als „Sozialpsychologie“ nach dem US-amerikanischen Vorbild bis in die 1980er-Jahre. Die gegenwärtige Kultursoziologie in Japan fußt auf Denktraditionen der ersten Generation der Frankfurter Schule in Westdeutschland, dem Kulturmarxismus und den Cultural Studies in Großbritannien sowie dem Poststrukturalismus in Frankreich. Seit der Rezeption der Diskurse zur Postmoderne und Globalisierung sowie angesichts einer immer stärker globalisierten Weltwirtschaft und des damit einhergehenden Kulturwandels haben sich Konsumgesellschaft, Mediengesellschaft und Globalisierung als Leitthemen in der kultursoziologischen Forschung etabliert.
... TV, formato televisivo compartilhado entre os países do leste e sudeste asiático (ANG, 2004(ANG, , 2007DISSANAYAKE, 2012;IWABUCHI, 2004), passaram a figurar no mainstream do mapa dos fluxos da cultura midiática global, tendo sua distribuição expandida e potencializada a partir dos serviços de streaming de video e do movimento das comunidades migrantes e de seus fãs, para além do contexto regional (HU, 2005;MARTEL, 2012;CHUNG, 2011 Estamos extremamente felizes por podermos estar envolvidos no fornecimento de dramas originais no Japão com a TV Fuji, que tem uma reputação estabelecida em produzir conteúdos que são especialmente populares entre os jovens. Acreditamos na nossa visão de conectar o mundo através de histórias surpreendentes e vamos continuar a concentrar os nossos esforços na produção de conteúdos incríveis. ...
Resumo: O objetivo do artigo é apresentar um panorama da produção audiovisual oriental disponível na Netflix BRa partir do caso dos dramas de TV-buscando discutir os novos modelos de distribuição e consumo desse formato regional, a partir da mediação recente promovida pela referida plataforma, que possui caráter global. Nosso argumento é que a mediação recente proporcionada por plataformas licenciadas de streaming de filmes e séries como a Netflix, promove uma maior expansão e visibilidade global do conteúdo audiovisual produzido no contexto das indústrias televisivas dos países do Extremo Oriente, coexistindo com estratégias tradicionais (e informais) de mediação desenvolvida e consolidada pelos fãs no ambiente das redes digitais. Palavras-chave: Dramas de TV; mediação, consumo, Netflix, redes digitais. Introdução É consensual que a cultura midiática vive um efervescente momento de reconfiguração que atinge todos os espaços de seu circuito comunicativo e que tem como importante mola-propulsora a popularização da cultura digital. A internet, aliada aos avanços em torno da tecnologia televisiva, tem potencializado novos comportamentos por parte dos agentes vinculados à produção, à distribuição e ao consumo de conteúdos midiáticos (JENKINS, 2009; GOMES, 2007; CASTELLANO, 2015) que, todavia, ainda 1Artigo apresentado ao Eixo Temático 13-Arquiteturas digitais de interação, novos modelos de negócios, economia do compartilhamento e colaboração-do X Simpósio Nacional da ABCiber.
... In their watching activity, the informantsidentified themselves to one or several figures with the purpose of reflecting positive values as a reference to build their self-identity. Moreover, the description of figures in the watched show managed to provide reference for the informants to establish their self in future (IWABUCHI, 2004). ...
Watching television has become a habitual action of human beings.In the context of the relationship between mass media and identity, television is considered as the main source that could help to reshape and develop the identity of audience considering that television is able to provide the image and meaning to the audience in establishing their identity (MORLEY, 1986; SILVERSTONE, 1994). In line with the development of technology, a rapid growth of pay TVs has been observed in Indonesia. Moreover, K-drama series have received a warm welcome from its viewers considering the increasing number of K-drama that appeared on private television and pay television stations. This study is constructed using the reception analysis framework by observing how active the audiences receive text awhich is not separated from their moral viewpoint, either in the phase of observation, interpretation, or conclusion. The qualitative approach applied in this study was conducted in the form of focused group discussion and observation. The findings revealed that self-identity is built based on what is watched by the informants. The activity of watching the K-drama series program is regarded as an effort of exploration which include the process of searching information and gaining a deep understanding. Specifically, the results of informants watching activities are utilised as the method to explore new information and obtain new discovery that can act as reference in building self-identity.
... In an effort to provide more nuanced understandings of cross-regional cultural flows, scholars (e.g., Iwabuchi, 2002Iwabuchi, , 2004Morley, 2006;Straubhaar, 1996) have examined how the new media geography is shaped not only by "nation states" but also by "the larger map of linguistic and cultural affinities between civilizations" (Athique, 2016, p.118). ...
Most research approaches globalization from a top‐down perspective that looks at how past economic, political, and cultural arrangements influence non‐Western cultures. This essay instead uses the concept of the networked audience as an entry point to understand the dynamics of cultural globalization. We first discuss the mass audience in relation to cultural imperialism/homogenization. We then examine the recent shift to the networked audience in the context of digital globalization, computer networking, and social media. Afterwards, we investigate how the conceptualization of global networked audiences contributes to new understandings of global cultures and exchanges. The network perspective suggests that the traditional conceptualization of globalization via the center‐periphery model no longer works, but rather that cultural flows through networks enable individuals to have some, but limited, agency and power to resist corporate and elite controls.
... In the last decade or so, cultural studies scholars have studied the discursive formation of a regional East Asian pop culture (Chua, 2012). Representative literature includes Iwabuchi's (2002Iwabuchi's ( , 2004) work on Japanese TV dramas; Chua & Iwabuchi's (2008) collection of studies on "Korean waves", alluding to the popularity and frenzy around Korean drama, its celebrities and K-pop idols (see also Jung, 2011); Hong Kong action movies and their transnational/ global reach (Morris, Li, & Chan's (2005); and a growing literature, far too many to mention here, that also extends to the study of Islam and popular culture in Indonesia and Malaysia, for example (Weintraub, 2011). ...
... Di samping itu, kekreatifan isi cerita dan penampilan tokoh yang menawan membuat drama Korea dapat menguasai pasar di Asia termasuk Indonesia yang dikenal dengan hallyu atau korean wave, satu istilah yang menggambarkan ge-lombang kebudayaan populer Korea di Asia menurut Iwabuchi (2004:2) dan Fribadi (2012:21). ...
Penelitian ini bertujuan mengungkap upaya tokoh perempuan dalam drama seri televisi “Greatest Marriage” menghadapi budaya patriarkat. Masalah yang dibahas adalah upaya tokoh perempuan dalam menghadapi budaya patriarkat; yakni upaya mereka dalam berkompromi atau bernegosiasi dengan patriarkat. Teori yang digunakan dalam penganalisisan data adalah teori feminis liberal. Metode yang digunakan adalah kualitatif dengan teknik penyimakan. Hasil penelitian menggambarkan bahwa perempuan dalam drama yang diteliti telah mendobrak budaya patriarkat di lingkungan keluarga, tempat bekerjanya (kantor), dan di ranah hukum seperti mengkritik undang-undang perkawinan dan hak asuh anak. Simpulan penelitian ini adalah patriarkat diafirmasi oleh kelas atas yang secara ekonomi sudah mapan. Namun, kekuatan itu dapat dilawan dengan liberalisme, pendidikan, dan modernitas.
[Title: Woman on Television Drama Series “Greatest Marriage”: Liberal Feminist Perspective]. This research aims to reveal the attempts of female characters in the television drama series "Greatest Marriage" in confronting the partriarchal culture. The problem discussed here is how the efforts of women leaders in the face of patriarchal culture, whether women can compromise or negotiate with the patriarchy. The theory used in analyzing the data is the liberal feminist theory. The method used is qualitative listening technique. The results illustrate that women in the studied drama have to break the patriarchal culture in the family environment, the place of work (office), and in the realm of law such as criticizing the laws of marriage and child custody. The conclusion of the research is that patriarchy is affirmed by the upper class who is economically established. However, that power can be challenged through liberalism, education, and modernity.
... Sein umfassendes Forschungsgebiet deckt Musik, Kunst, Medien und soziale Bewegungen ab (Môri 2003). Kôichi Iwabuchi (*1960) arbeitet heute nicht mehr in Japan, sondern in Australien, wo er sich mit dem Kreislauf von Produktion, Verteilung und Konsum populärkultureller Erzeugnisse aus Japan und anderen asiatischen Ländern im gesamtasiatischen Raum auseinandersetzt (Iwabuchi 2002(Iwabuchi , 2004. ...
Das reflexive Erkenntnisinteresse an „Kultur“ als Ursprung der Kultursoziologie lässt sich in Japan in der Taishô-Zeit (1911–1925) verorten, in der die modernen massenmedialen und -kulturellen Phänomene entstanden sind. Nach dem Scheitern der völkischen „Soziologie der japanischen Kultur“ mit dem Zusammenbruch des totalitalischen Regimes – Hiermit ist das Regime nach dem Inkrafttreten des Gesetzes zur nationalen Generalmobilmachung von 1938 bis zur bedingungslosen Kapitulation des Großkaiserreich Japans von 1945 gemeint – erfolgte die Erforschung der Massenkultur zuerst als „Sozialpsychologie“ nach dem US-amerikanischen Vorbild bis in die 1980er-Jahre. Die gegenwärtige Kultursoziologie in Japan fußt auf Denktraditionen der ersten Generation der Frankfurter Schule in Westdeutschland, den Kulturmarxismus und die Cultural Studies in Großbritannien sowie den Poststrukturalismus in Frankreich. Seit der Rezeption der Diskurse zur Postmoderne und Globalisierung sowie angesichts einer immer stärker globalisierten Weltwirtschaft und des damit einhergehenden Kulturwandels haben sich Konsumgesellschaft, Mediengesellschaft und Globalisierung als Leitthemen in der kultursoziologischen Forschung etabliert.
The present paper looks at adaptations in East Asia, which contrast with those of the West. Freely rewritten versions, particularly of Chinese literature, figured prominently in pre-modern times, an example being the cluster around Qu You’s New Tales of Trimming the Wick (1378). Stories from that collection evince the outward, transcultural movement of literary texts from China to Japan and Korea (and elsewhere). In our time, media adaptations have taken center stage, and a different cluster, that of TV adaptations of Kamio Yoko’s Boys over Flowers (1992-), exemplifies the clockwise, linear movement of adapted texts from Taiwan to China, and then to Korea. The two scenarios can be explicated with preference to the strategies of localization, recontextualization, and reinterpretation that are deployed, although localizing moves are primary. In particular, localization problematizes our understanding of the relationship of adaptations to the evolution of East Asianness. If biological adaptation is at the core of Darwinian evolution theories, according to which organisms undergo mutations in order to better survive, then textual adaptation means giving a text an “afterlife,” using changes to enhance accommodation to a new environment – in this case, a geographically close environment.
Pozycja Japonii po II wojnie światowej nabrała innego znaczenia. Wyznaczały ją klęska wojenna i konieczność szukania innej drogi rozwoju. Tą drogą było przyjęcie części zachodnich wartości – głównie amerykańskich – i zasad wolnego rynku w sferze ekonomii. Reorientacji uległa również polityka zagraniczna, która musiała nastawić się na wsparcie gospodarki poprzez szukanie i utrzymanie dobrych relacji z zagranicą. Większego znaczenia nabrały wszelkie instrument związane z soft power, czyli typowej dla Japonii kultury i wartości, które jednak połączone z wartościami Zachodu, maja korzystny wpływ na rozwój tego kraju. Najlepiej jest to widoczne we wzroście znaczenia tego państwa, które potrafiło wiele zyskać w kategorii miękkiej siły, pomimo hermetyczności własnej kultury i wartości. To one wraz z pokojową polityką i modelem gospodarczego rozwoju idealnie odzwierciedlały możliwości użycia soft power.
This paper examines how three Taiwanese women married to Japanese men and living in Japan became microcelebrities by producing social media content aimed primarily at Taiwanese audiences. It argues that the emergence of the three should be contextualized within the complicated historical, political, and cultural relations between Taiwan and Japan. Their self-branding strategies emphasize the authenticity of their transnational lived experiences, which they use to mobilize microcelebrity intimacy with online fans. Their cross-cultural romances and marriages in Japan have become capital to be maximized, turning personal stories and emotions into online portrayals of cross-cultural romance and promotional work for Japan’s local government and tourist industry. The typical East Asian prescriptions for femininity that emphasize perseverance and diligence have been remodeled in their neoliberal identities in terms of abilities, resilience and strength realized through work and family. Furthermore, they have played the role of grassroots intermediaries in the post-3.11 friendship between Taiwan and Japan that flowered as a consequence of Taiwan’s substantial donations to recovery efforts following Japan’s 2011 earthquake and tsunami. This study also indicates that the economic, social and symbolic empowerment they have accrued as microcelebrities remains precarious as it is heavily dependent on their curated biographies fitting with the commercial logic of social media appealing to online audiences. This study of Taiwanese female microcelebrities aims to offer a look at how new mediascapes have been reshaped by transnational mobility/networks, social media, and the post-3.11 Taiwan-Japan dynamic.
Bu çalışmada, Çin sinema tarihi ile paralel olarak Çin sinemasının bir endüstri olarak gelişimi aktarılmıştır. Bu ikili bakış açısı ile hem filmlerin içerik olarak değerlendirmesi hem de Çin sinema sektörünün Hollywood endüstrisi ile karşılaştırmalı incelemesi yapılmıştır. Çin sinemasının devlet desteği almasına rağmen neden istenen ivmeyi yakalayamadığı sorusu ise yumuşak güç ve kültür indirimi kavramları ile açıklanmıştır. Bütün bunların sonucunda çalışma okuyuculara sinemanın bir propaganda aracı olarak kullanılması, kültür endüstrisi içerisindeki mücadelesi ve uluslararasılaşması konularında Çin örneği üzerinden açılımlar sunmaktadır.
Anahtar kelimeler: Çin sineması, Yumuşak güç, Sinema endüstrisi, Sinema tarihi, Kültür indirimi.
In the age of multiple screens, online video streaming has in the 2010s and present become the most significant way of consuming television content in mainland China. Among all the available content provided by Chinese streaming services, English-language television series stands out as an imported audio-visual product that is mainly distributed and circulated on the internet rather than television channels due to relevant media industry regulations and policies. Prior to landing on online streaming services as its legal distribution platform, English-language television series initially engendered its local audience base via informal distribution means, such as pirated DVDs and file-sharing and downloading websites; yet some of these informal services still exist in a grey area, since the content library formal streaming services possess is largely restricted in terms of size. From the perspective of media industry studies, this thesis deals with both formal and informal distribution platforms with a focus on formal distribution practices and the mechanisms behind them, which involve cultural, political and economic factors. This thesis first examines the streaming services themselves, studying distribution practices for American and British television series to understand the logic behind the localization of the business practices surrounding transnational television and to illustrate the features streaming services adopt to cater to online audiences based on local streaming consumption habits. The thesis then investigates how the current distribution pattern has been constructed by state supervision through cultural policies and censorship and by the historically dynamic relationship between formal distribution and informal distribution. I argue that the localized online distribution of English-language television series in mainland China is the result of the interplay among distributors’ business practices, Chinese authorities’ regulatory practices and Chinese viewers’ consumption habits and viewer practices. Putting the thesis in a global context, I contend that the development of online streaming technologies has created distinctive forms of media consumption in mainland China. Within the specific local political environment, the localized distribution pattern of transnational television content represents part of China’s response to the global television trade.
Turkey and Japan have comparable histories of modernization beginning in the nineteenth century. They have since then produced modernities that are considered a mix of “Eastern” and “Western.” Over recent decades, both faced the question of what comes after modernity and began manufacturing their versions of authenticities and cultural exports. This paper comparatively locates two symptoms of this process. “Neo-Ottomanism” refers to the increasing cultural consumption of Turkey’s imperial past while “Cool Japan” emphasizes popular products in entertainment, fashion, youth culture, and food, intending to shift Japan’s image to a “cool” place. Both projects, in different ways, are sponsored by the state; yet their reception in popular culture illustrates the vexed relationship between the state and culture: while states endeavor to colonize culture for their own interests, popular culture provides avenues to outwit the state’s attempts. Popular culture’s autonomy in both contexts has to do with the collapse of traditional hierarchies, which has paved the ways for the promotion and export of new identity claims. Local and global representations of neo-Ottomanism and Cool Japan differ. Internally, they are fragmented; externally, they are linked to international “soft power,” and offer alternatives modernities in Turkey and Japan’s regional areas of influence.
O livro apresenta capítulos de pesquisadores brasileiros e australiana que discutem as narrativas seriadas televisivas, games e animações e suas expansões transmídia.
No caso específico dos mundos abertos, destaco o capítulo Minecraft story mode
uma análise transmidiática da ficção interativa da Netflix
O mercado midiático da Ásia Oriental, amparado por forças nacionais em produção televisiva, criou um espaço relevante de trocas que fortalecem o espectro regional. Os dramas de TV são parte essencial desse universo por serem um formato televisivo desenvolvido na região e por dialogarem com questões culturais que mantêm esse mercado em constante expansão. A produção de dramas movimenta essas dinâmicas mercadológicas tanto através da venda de formatos televisivos quanto de produtos licenciados. Atualmente, Coreia do Sul e Japão se destacam como grandes polos de exportação desse tipo de conteúdo e são mediadores centrais das influências que geram o mercado. É de um deles uma das maiores e mais rentáveis narrativas televisivas da Ásia Oriental: Hana Yori Dango, originalmente japonesa, que se expandiu como formato de roteiro pela região. Essa narrativa surgiu como mangá e avançou para outras plataformas midiáticas, se destacando especialmente no formato de drama de TV. Hana Yori Dango possui adaptações televisivas na Coreia do Sul, China, Taiwan, Tailândia, entre outros. Posicionamos, então, Hana Yori Dango em meio ao debate sobre a transnacionalização televisiva e o regionalismo em um dos espaços mais efervescentes em cultura pop no mundo atual: o Leste da Ásia.
O artigo discute a instrumentalização do soft power japonês através dos discursos veiculados sobre o Japão e seu relacionamento com os países vizinhos encontrados no reality show Ainori Love Van: Asian Journey (2017-2019), disponível na Netflix. Para tanto, damos enfoque ao caso de Taiwan, um dos destinos turísticos visitados pelos participantes da primeira temporada do referido programa. Os resultados da pesquisa apontam que o programa tenta desconstruir a memória negativa associada ao imperialismo japonês, iniciado no século XX, na medida em que reforça a ideia amplamente difundida de que o Japão é cool.
O artigo discute a instrumentalização do soft power japonês através dos discursos veiculados sobre o Japão e seu relacionamento com os países vizinhos encontrados no reality show Ainori Love Van: Asian Journey (2017-2019), disponível na Netflix. Para tanto, damos enfoque ao caso de Taiwan, um dos destinos turísticos visitados pelos participantes da primeira temporada do referido programa. Os resultados da pesquisa apontam que o programa tenta desconstruir a memória negativa associada ao imperialismo japonês, iniciado no século XX, na medida em que reforça a ideia amplamente difundida de que o Japão é cool.
Without direct fieldwork access, one can nevertheless imagine what possible changes can happen in the everyday life of North Koreans, by references with conditions elsewhere in East Asia which resonates with current conditions in North Korea. First, the division between North and South Korea can be referenced with the other instances of nations divided by a communist and a capitalist regime; namely, the present China and Taiwan and the previous North and South Vietnam. In contrast to these references to possible routes to reunification, it also can be referenced to instances of peaceful separations, such as the case of Malaysia and Singapore. Second, now that a nascent private market economy has been introduced, the experiences of Vietnam and China in marketizing their respective centrally planned economy can serve as references to imagine the possible economic transformation of North Korea. Third, the penetration of imported media/popular cultures into North Korean media consumption may stimulate new aspirations of local population for a different material future, as it has done in other parts of East Asia. Drawing on the experiences of other East Asian nations as reference points, potential and possible changes in the everyday life in North Korea can be imagined.
Embora o soft power japonês seja comumente associado aos animês e mangás-produtos midiáticos que obtiveram grande sucesso ao redor do mundo-percebemos que esse poder brando está se revelando mais plural. A aparição de plataformas de streaming é um dado interessante a esse processo, uma vez que facilita o acesso à outras produções midiáticas japonesas, como os reality shows, que não costumam ser transmitidos in-ternacionalmente através de vias oficiais. Com isso em mente, objetivamos investigar o potencial desse soft power "alternativo", através da interpretação dos discursos presentes nos realitys shows Terrace House e Ainori, coproduzidos pela Netflix. Partimos do pressuposto de que o Japão vive um efervescente momento de expansão de seu soft power através do diálogo com essas plataformas, que ajudam a veicular outras imagens e discursos sobre a nação. Concluímos que embora esses programas careçam de incentivos advindos do governo, eles também podem conseguir cooptar soft power.
This paper analyzes the political implications of aesthetic mimicry in the popular mobile game, Onmyoji. Created by the Chinese company, NetEase, Onmyoji takes advantage of the expansive network of signifiers revolving around the historical Japanese figure, Abe-no-Seimei, and co-opts this network to display a recognizable Japanese popular aesthetic. By remixing elements of Japanese culture, Onmyoji presents a commodifiable and mediated image of Japanese cultural authenticity that is recognizable globally. Mimicry and the co-opting of another nation’s cultural signifiers initiates a negotiated process of ambivalent national self-empowerment that has since resulted in shifting labor flows within the digital entertainment industries in East Asia. The malleability of cultural signifiers allows for the purposeful framing of global media texts. Such multivalent encodings of recognizable symbols emerge from the provocative slippages between media boundaries. This, in turn, engages with the dialectical processes of nation branding within the framework of transnational co-production models.
The increasingly transnational reach of East Asian media suggests that East Asia has become an ever more de-territorialized media zone. But what has been relatively neglected in the extant scholarship is in-depth consideration of how East Asian media culture has been transnationalised beyond the geographic boundaries of Asia, especially in the context of accelerating online content distribution. In this article, we propose that Australia provides a useful case study to illuminate the cultural impacts of East Asian media beyond Asia. What is Australia's place in trans-Asia media circuits? Does the consumption of East Asian media by audiences in Australia enable them to develop increasingly reflexive understandings of cultural identity, in a turn toward everyday cosmopolitanism? Alternatively, might the new kind of mediasphere we witness emerging in Australia entail new forms of cultural encapsulation, or a proliferation of mutually disconnected ethno-specific media sphericules? Analysing in-depth qualitative interviews with 47 users of East Asian media in Australia, this article investigates how such media engagements open up and/or close down routes to reflexive transcultural practices for these media users; that is, it evaluates the potential of these media to cultivate cosmopolitan ethos in this context. We conclude that East Asian media in Australia may function for their users, paradoxically, as a cosmopolitan media niche within a national mediascape characterised more typically by cultural encapsulation.
The direct method has been the dominant teaching method in Japanese language
education since its introduction from English language teaching in the year 1950.
Despite the call to reconsider its first language and translation exclusion principles,
the direct method influence still remains strongly in Japanese language education. This paper focuses on a review of literature on the topic and examines the implications of that research for the classroom. By doing so, this paper argues that the direct method’s exclusion policy is unsupported by previous research and explores the ways in which principled use of L1 and shared language can be implemented in the Japanese second language classroom.
直接法は、1950 年に、英語教育から導入されて以来、日本語教育において優勢な教
授法となっている。学習者の母語または共通言語除外の原則を再考するよう求められ
ているにもかかわらず、直接法の影響は依然として日本語教育に強く残っている。本
稿ではこのトピックの研究を再考することに焦点を当て、この研究が教室にもたらす
影響を調査する。こうした方法により、本稿は、直接法で共通言語を除外するという
方針が先行研究からは支持されていないことを論じ、JSL の教室で第 1 言語と共通言
語の使用を原理的に認める方法を探る。
The story of Hong Kong’s broadcasting industry starts from 1928. Straddling at the juncture of the centennial anniversary of Hong Kong broadcasting service, we trace the steps and re-discover the role that Hong Kong broadcasting industry (radio broadcast and later television) has ever played beyond its home territory: how Hong Kong’s broadcasting industry has connected with the global Sinophone community and with the world.
This essay explores the mediation of ideas and values of Taiwanese film and TV producer-director Tsai Yueh-hsun’s regionally oriented productions, in particular, White Tower and Black & White. Tsai’s career has been conditioned by the globalization and regionalization of film and TV consumption and production in Taiwan. His films and TV productions are not related to Taiwan’s national politics. They are set in non-discernible, hence, denationalized urban societies. They appeal to audiences in both the Taiwanese and East Asian markets, with their post-Confucian presentation of personal and social issues of urban subjects. These productions stage the problems of Confucian patriarchal authority and highlight the significance of democracy in modern capitalistic East Asia. They make use of star power and take advantage of specific national markets at different times (in particular, Taiwan, Japan and China).
‘Cool Japan’ has been a cross-departmental policy agenda for Japanese government that has gained prominence over the last 10 years or so. Although the government has been reticent about cultural policy in general and particularly to East and Southeast Asia in post-war decades, attention has recently been given to the international popularity of Japanese popular culture such as manga and anime with policies aiming to cash in on what is named ‘Cool Japan’ phenomenon. Policy has been, however, patchy and disjointed. This paper will examine the background and emergence of this policy with industrial and economic aims, its recent transformation and impact on cultural flows in Asia. It will argue that whilst the government’s policy for popular culture industries may not have led to significant results, it has done what it could legitimately do without riding on the bandwagon of the creative industries discourse that has swept across the rest of the world. The chapter will also stress the importance of the industries to broaden their regional perspectives.
The colonial domination of Taiwan by China and Japan has crucially influenced the shaping of modern Taiwan and its political and cultural identity struggle. The anticipation of both political and social liberation and economic prosperity defined Taiwan in the post‐martial‐law era, and it also stimulated a spirit for independent filmmaking. This sentiment is embodied in the 1987 Taiwan Cinema Manifesto that was issued and signed by numerous emerging but influential filmmakers and cultural figures, including renowned directors Hou Hsiao‐hsien and Edward Yang. The new wave of Taiwanese gangster films in the 1990s was an important manifestation of Taiwan Alternative Cinema and was influenced by the anticipation of absolute freedom in post‐martial‐law Taiwan. Dust of Angels deals with the plight of a second‐generation mainlander living in a grassroots Taiwanese society without the protection and sense of belonging that is gained from a military dependents’ community.
This essay investigates the East Asia-oriented TV and film productions of Taiwanese producer-director Tsai Yueh-hsun. His productions have made wide use of the transnational bankability of Taiwanese TV stars. Set in nationally non-specific urban societies, they are categorized as post-Confucian TV dramas, adopting liberal Western values and presenting problems in the authoritative patriarchal culture of the modern yet Confucian East Asia. They have competed in this market with neo-Confucian Korean and mainl and Chinese TV dramas that follow Confucian patriarchal values. His productions in the 2000s entered many East Asian markets, including Southeast Asian countries, Japan, and mainland China, with the latter airing censored versions. In the 2010s, his productions have prioritized the rapidly increasing mainland Chinese market among all East Asian markets and adopted Taiwanese-mainland Chinese cooperation. The productions maintain the post-Confucian style of presentation, but remove the political viewpoint commonly perceived in Taiwan. Confronted with Taiwanese skepticism toward the Taiwanese-mainland Chinese cooperation, Tsai argues that this strategy will contribute to the development of Taiwan's film and TV industry. The presentation of Taiwan's modern places in the productions will help promote its tourism.
This book provides a complex and intricate portrayal of Asian American high school girls – which has been an under-researched population – as cultural meditators, diasporic agents, and community builders who negotiate displacement and attachment in challenging worlds of the in-between. Based on two years of ethnographic fieldwork, Tomoko Tokunaga presents a portrait of the girls’ hardships, dilemmas, and dreams while growing up in an interconnected world. This book contributes a new understanding of the roles of immigrant children and youth as agents of globalization and sophisticated border-crossers who have the power and agency to construct belonging and identity across multiple contexts, spaces, times, activities, and relationships. It has much to offer to the construction of educative communities and spaces where immigrant youth, specifically immigrant girls, can thrive.
This chapter examines how Asian American girls construct imagined homes through their use of media and popular culture. I describe the ways in which they envision a future home in another location, form virtual communities with youth in diaspora, and develop a pan-Asian consciousness. Despite common images of young people as passive consumers of messages created in the media, the girls were sophisticated in appropriating, producing, and disseminating it to construct imagined homes. They imagined a possible home, often a country that they had never been, as a place where they could envision a bright future. They also formed diasporic communities which consisted of Asian youth dispersed in the world and fashioned a pan-Asian consciousness that transcended the boundaries of countries and ethnicities. This chapter depicts the girls as diasporic agents and suggests the power of their imagination as they metaphorically bridge America, Asia, and the world.
Chinese-speaking popular cultures have never been so queer in this digital, globalist age. The title of this pioneering volume, Boys' Love, Cosplay, and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan already gives an idea of the colorful, multifaceted realms the fans inhabit today. Contributors to this collection situate the proliferation of (often online) queer representations, productions, fantasies, and desires as a reaction against the norms in discourses surrounding nation-states, linguistics, geopolitics, genders, and sexualities. Moving beyond the easy polarities between general resistance and capitulation, Queer Fan Cultures explores the fans' diverse strategies in negotiating with cultural strictures and media censorship. It further outlines the performance of subjectivity, identity, and agency that cyberspace offers to female fans. Presenting a wide array of concrete case studies of queer fandoms in Chinese-speaking contexts, the essays in this volume challenge long-established Western-centric and Japanese-focused fan scholarship by highlighting the significance and specificities of Sinophone queer fan cultures and practices in a globalized world. The geographic organization of the chapters illuminates cultural differences and the other competing forces shaping geocultural intersections among fandoms based in Mainland China, Hong Kong, and Taiwan.
Este trabalho pretende situar a minissérie Haru e Natsu – as cartas que não chegaram, produzida pela emissora japonesa NHK e transmitida no país pela Rede Bandeirantes, no empreendimento narrativo da saga da imigração japonesa no Brasil, postulando que a ficção televisiva, ao compartilhar versões e saberes acerca de determinada sociedade e época, torna-se ela própria “memória documental e histórica” (Motter 2000/2001). Aborda também a minissérie como uma narrativa sobre a nação, vista não como território, mas como um acervo de recursos identitários. Explora ainda a relação entre o gênero epistolar utilizado como recurso narrativo central nesta minissérie e o ponto de vista feminino que a autora constrói sobre os fatos da imigração japonesa ao Brasil.
Asia has some of the largest, most dynamic, diversified, and complicated media industries in the world (McKinsey & Company, 2015). Entering the 21st Century, the rapid economic and political developments of Asia further energize the growth of media locally and globally (for general discussion, see, e.g., Keane [2006]; Thussu [2006], specific discussions on the cases of Korea [Kim, 2013], Japan [Iwabuchi, 2004], China [Sun, 2009]). In a reflection on the increasing importance of Asian players in global communication industry, Keane describes that “Asianness is colonizing international communications markets” (2006: 839-840) with the impacts ranging from the production of hardware (i.e., East Asian technology) to content (e.g., Japanese manga, anime and TV formats and South Korean popular culture) and from the cross-over of directors and actors from Asia to Hollywood and the world. Yet, a lack of timely understanding of media and communication in a fast-changing Asia is hindering not only our interpretation of the significance of media in social transformation in Asia, but also the efforts to de-westernize (e.g., Park & Curran, 2000; Wang, 2010) or internationalize communication studies (Lee, 2014).
ResearchGate has not been able to resolve any references for this publication.