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Television, Japan, and Globalization makes a monumental contribution to the literature of television studies, which has increasingly recognized its problematic focus on US and Western European media, and a compelling intervention in discussions of globalization, through its careful attention to contradictory and complex phenomena on Japanese TV. Case studies include talent and stars, romance, anime, telops, game and talk shows, and live-action nostalgia shows. The book also looks at Japanese television from a political and economic perspective, with attention to Sky TV, production trends, and Fuji TV as an architectural presence in Tokyo. The combination of textual analysis, clear argument, and historical and economic context makes this book ideal for media studies audiences. Its most important contribution may be moving the study of Japanese popular culture beyond the tired truisms about postmodernism and opening up new lines of thinking about television and popular culture within and between nations.
This book is about the processes of globalization, demonstrated through a comparative study of three television case histories in Asia. Also illustrated are different approaches to providing television services in the world: public service (NHK in Japan), state (CCTV in China) and commercial (STAR TV, based in Hong Kong). Through its focus, Global Media addresses a considerable lacuna in the media studies literature, which tends to have a heavy Western bias. It provides an original addition to the literature on globalization, which is often abstract and anecdotal, in addition to making a major contribution to comparative research in Asia. Finally, it offers a thoughtful causal layered analysis, with a concluding argument in favor of public service television.
Globalization is usually thought of as the worldwide spread of Western—particularly American—popular culture. Yet if one nation stands out in the dissemination of pop culture in East and Southeast Asia, it is Japan. Pokémon, anime, pop music, television dramas such as Tokyo Love Story and Long Vacation—the export of Japanese media and culture is big business. In Recentering Globalization, Koichi Iwabuchi explores how Japanese popular culture circulates in Asia. He situates the rise of Japan’s cultural power in light of decentering globalization processes and demonstrates how Japan’s extensive cultural interactions with the other parts of Asia complicate its sense of being "in but above" or "similar but superior to" the region. Iwabuchi has conducted extensive interviews with producers, promoters, and consumers of popular culture in Japan and East Asia. Drawing upon this research, he analyzes Japan’s "localizing" strategy of repackaging Western pop culture for Asian consumption and the ways Japanese popular culture arouses regional cultural resonances. He considers how transnational cultural flows are experienced differently in various geographic areas by looking at bilateral cultural flows in East Asia. He shows how Japanese popular music and television dramas are promoted and understood in Taiwan, Hong Kong, and Singapore, and how "Asian" popular culture (especially Hong Kong’s) is received in Japan. Rich in empirical detail and theoretical insight, Recentering Globalization is a significant contribution to thinking about cultural globalization and transnationalism, particularly in the context of East Asian cultural studies.
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. Through the empirical analysis of how Japanese youth dramas are (re)produced, circulated, regulated, and consumed in East and Southeast Asia, each chapter in this volume variously explores the ways in which intra-Asian cultural flows highlight cultural resonance and asymmetry in the region under the decentering processes of globalization. Key questions include: What is the nature of Japanese cultural power and influence in the region and how is it historically overdetermined? How is it similar to and different from "Americanization" and other Asian cultural sub-centers? What kinds of images and sense of intimacy and distance are perceived through the reception of Japanese youth dramas?
Japanese Influence on American Children’s Television examines the gradual, yet dramatic, transformation of Saturday morning children’s programming from being rooted in American traditions and popular culture to reflecting Japanese popular culture. In this modern era of globalization and global media/cultural convergence, the book brings to light an often overlooked phenomenon of the gradual integration of narrative and character conventions borrowed from Japanese storytelling into American children’s media. The book begins with a brief history of Saturday morning in the United States from its earliest years, and the interaction between American and Japanese popular media during this time period. It then moves onto reviewing the dramatic shift that occurred within the Saturday morning block through both an overview of the transitional decades as well as an in-depth analysis of the transformative ascent of the shows Mighty Morphin Power Rangers, Pokémon, and Yu-Gi-Oh!.
Japanese popular culture is constantly evolving in the face of internal and external influence. Popular Culture, Globalization and Japan examines this evolution from a new and challenging perspective by focusing on the movements of popular culture into and out of Japan. Taking a multidisciplinary approach, the book argues that a key factor behind the changing nature of Japanese popular culture lies in its engagement with globalization. Essays from a team of leading international scholars illustrate this crucial interaction between the flows of Japanese popular culture and the constant development of globalization. Drawing on rich empirical content, this book looks at Japanese popular culture as it traverses international borders flowing out through such forms as manga consumption in New Zealand and flowing in through such forms as foreigners writing about Japan in Japanese and how American influences affected the formation of Japan’s gay identity. Presenting current, confronting and sometimes controversial insights into the many forms of Japanese popular culture emerging within this global context, Popular Culture, Globalization and Japan will make essential reading for those working in Japanese studies, cultural studies and international relations.
From 1993 to 2003, exports of Japan's cartoon arts tripled in value, to $12.5 billion. Fan phenomena around the world - in U.S. malls, teen girls flock to purchase the latest Fruits Basket graphic novel; in Hungary, young people gather for a summer «cosplay» (costume dress-up) event - illustrate the global popularity of manga and anime. Drawing on extensive research and more than 100 original interviews, Anne Cooper-Chen explains how and why the un-Disney has penetrated nearly every corner of the planet. This book uses concepts such as cultural proximity, uses and gratifications, and cultural variability to explain cross-cultural adaptations in a broad international approach. It emphasizes that overseas acceptance has surprised the Japanese, who create manga and anime primarily for a domestic audience. Including some sobering facts about the future of the industry, the book highlights how overseas enthusiasm could actually save a domestic industry that may decline in the contracting and graying country of its birth. Designed for courses covering international mass media, media and globalization and introduction to Japanese culture, the book is written primarily for undergraduates, and includes many student-friendly features such as a glossary, timeline and source list.
Over the past years, the view has emerged that Japanese TV is dominated by an infotainment mode of discourse. The book extends this view, detailing and interpreting the cultural, economic, and emotional dimensions of this communication phenomenon from an ethnographic perspective. It examines the complex ways in which infotainment works in an advanced capitalist society. As such, this is more than a book about Japan; it is a work that fits within media ethnography and cultural studies, and appeals to readers interested in the question of how television, at the heart of the global media stream, successfully turns into a persuasive, intimate, and powerful member of a televisual audience-family through carefully engineered televisual discourses, linguistic/non-linguistic component, audiovisual strategies, and economic and cultural elements. Drawing on ethnographic observations in TV stations in two major cities, Sendai and Tokyo, the book reveals several essential components embedded within infotainment discourse. Thus, this book not only provides a panoramic picture of a core phenomenon in Japanese broadcasting since the 2000s but also discusses how both cultural discourses and economic considerations influence contemporary television broadcasting.
This book explores the trade in television program formats, which is a crucially important ingredient in the globalisation of culture, in Asia. It examines how much traffic there is in program formats, the principal direction of flow of such traffic, and the economic and cultural significance of this trade for the territories involved, and for the region as a whole. It shows how new technology, deregulation, privatisation and economic recession have greatly intensified competition between broadcasters in Asia, as in other parts of the world, and discusses how this in turn has multiplied the incidence of television format remakes, with some countries developing dedicated format companies, and others becoming net importers and adapters of formats.