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Can traditional Japanese life concepts--like loyalty, harmony, meticulousness--make sense in Western societies? Here are dozens of ideas for decluttering the spirit.
Essential reading for students of Japanese society, An Introduction to Japanese Society now enters its third edition. Here, internationally renowned scholar, Yoshio Sugimoto, writes a sophisticated, yet highly readable and lucid text, using both English and Japanese sources to update and expand upon his original narrative. The book challenges the traditional notion that Japan comprises a uniform culture, and draws attention to its subcultural diversity and class competition. Covering all aspects of Japanese society, it includes chapters on class, geographical and generational variation, work, education, gender, minorities, popular culture and the establishment. This new edition features sections on: Japan's cultural capitalism; the decline of the conventional Japanese management model; the rise of the 'socially divided society' thesis; changes of government; the spread of manga, animation and Japan's popular culture overseas; and the expansion of civil society in Japan.
Explores the role of 1930s Japanese cinema in the construction of a national identity and in the larger context of Japan's encounter-and struggle-with the West and modernity. Davis lends a new perspective to such celebrated films as Gate of Hell, Kagemusha, and Ran.
Our images of non-Western cultures are often based on stereotypes that are replicated over the years. These stereotypes often appear in popular media and are responsible for a pre-set image of otherness. The present book investigates these processes and the media representation of otherness, especially as an artificial construct based on stereotypes and their repetition, in the case of Japan. 'Western Japaneseness' thereby illustrates how the Western image of Japan in popular media is rather a construct that, in a way, replicated itself, instead of a more serious encounter with a foreign and different cultural context. This book will be of great value to students and academics who hold interest in media studies, Japanese studies, and cultural studies. It will also appeal to a broader audience with interests in Japan more generally.
Explores the role of 1930s Japanese cinema in the construction of a national identity and in the larger context of Japan's encounter-and struggle-with the West and modernity. Davis lends a new perspective to such celebrated films as Gate of Hell, Kagemusha, and Ran.
There is a rich body of literature on the experience of Japanese immigrants in the United States, and there are also numerous accounts of the cultural dislocation felt by American expats in Japan. But what happens when Japanese Americans, born and raised in the United States, are the ones living abroad in Japan? Redefining Japaneseness chronicles how Japanese American migrants to Japan navigate and complicate the categories of Japanese and “foreigner.” Drawing from extensive interviews and fieldwork in the Tokyo area, Jane H. Yamashiro tracks the multiple ways these migrants strategically negotiate and interpret their daily interactions. Following a diverse group of subjects—some of only Japanese ancestry and others of mixed heritage, some fluent in Japanese and others struggling with the language, some from Hawaii and others from the US continent—her study reveals wide variations in how Japanese Americans perceive both Japaneseness and Americanness. Making an important contribution to both Asian American studies and scholarship on transnational migration, Redefining Japaneseness critically interrogates the common assumption that people of Japanese ancestry identify as members of a global diaspora. Furthermore, through its close examination of subjects who migrate from one highly-industrialized nation to another, it dramatically expands our picture of the migrant experience.
In this book, Yuko Kawai departs from the common conception of Japan as an ethnically homogenous nation. A Transnational Critique of Japaneseness: Cultural Nationalism, Racism, and Multiculturalism in Japan investigates the construction of Japaneseness from a transnational perspective, examining ways to make Japanese nationhood more inclusive. Kawai analyzes a variety of communicational practices during the first two decades of the twenty-first century while situating Japaneseness in its longer historical transformation from the late nineteenth century. Kawai focuses on governmental and popular ideas of Japaneseness in light of local, global, historical, and contemporary contexts as well as in relation to a diverse array of Others in both Asia and the West.
Over the last 20 years, ethnic minority groups have been increasingly featured in Japanese Films. However, the way these groups are presented has not been a subject of investigation. This study examines the representation of so-called Others – foreigners, ethnic minorities, and Okinawans – in Japanese cinema. By combining textual and contextual analysis, this book analyses the narrative and visual style of films of contemporary Japanese cinema in relation to their social and historical context of production and reception. Mika Ko considers the ways in which ‘multicultural’ sentiments have emerged in contemporary Japanese cinema. In this respect, Japanese films may be seen not simply to have ‘reflected’ more general trends within Japanese society but to have played an active role in constructing and communicating different versions of multiculturalism. In particular, the book is concerned with how representations of ‘otherness’ in contemporary Japanese cinema may be identified as reinforcing or subverting dominant discourses of ‘Japaneseness’. the author book also illuminates the ways in which Japanese films have engaged in the dramatisation and elaboration of ideas and attitudes surrounding contemporary Japanese nationalism and multiculturalism. By locating contemporary Japanese cinema in a social and political context, Japanese Cinema and Otherness makes an original contribution to scholarship on Japanese film study but also to bridging the gap between Japanese studies and film studies.
This book offers insightful analysis of cultural representation in Japanese cinema of the early 21st century. The impact of transnational production practices on films such as Dolls (2002), Sukiyaki Western Django (2007), Tetsuo: The Bullet Man (2009), and 13 Assassins (2010) is considered through textual and empirical analysis. The author discusses contradictory forms of cultural representation – cultural concealment and cultural performance – and their relationship to both changing practices in the Japanese film industry and the global film market. Case studies take into account popular genres such as J Horror and jidaigeki period films, as well as the work of renowned filmmakers Takeshi Kitano, Takashi Miike, Shinya Tsukamoto and Kiyoshi Kurosawa.
The cross-cultural interactions of Japanese videogames and the West—from DIY localization by fans to corporate strategies of “Japaneseness.” In the early days of arcades and Nintendo, many players didn’t recognize Japanese games as coming from Japan; they were simply new and interesting games to play. But since then, fans, media, and the games industry have thought further about the “Japaneseness” of particular games. Game developers try to decide whether a game's Japaneseness is a selling point or stumbling block; critics try to determine what elements in a game express its Japaneseness—cultural motifs or technical markers. Games were “localized,” subjected to sociocultural and technical tinkering. In this book, Mia Consalvo looks at what happens when Japanese games travel outside Japan, and how they are played, thought about, and transformed by individuals, companies, and groups in the West. Consalvo begins with players, first exploring North American players’ interest in Japanese games (and Japanese culture in general) and then investigating players’ DIY localization of games, in the form of ROM hacking and fan translating. She analyzes several Japanese games released in North America and looks in detail at the Japanese game company Square Enix. She examines indie and corporate localization work, and the rise of the professional culture broker. Finally, she compares different approaches to Japaneseness in games sold in the West and considers how Japanese games have influenced Western games developers. Her account reveals surprising cross-cultural interactions between Japanese games and Western game developers and players, between Japaneseness and the market.