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A major study of postmodern developments in Japanese advertising and art
Postmodernism and Japan is a coherent yet diverse study of the dynamics of postmodernism, as described by Lyotard, Baudrillard, Deleuze, and Guatarri, from the often startling perspective of a society bent on transforming itself into the image of Western “enlightenment” wealth and power. This work provides a unique view of a society in transition and confronting, like its models in the West, the problems induced by the introduction of new forms of knowledge, modes of production, and social relationships.
In a study driven by stunning images of Japanese advertisements and the artworks they quote from, Ory Bartal offers a first-of-its-kind interpretation of the "postmodern" genre of advertising in Japan, which both shaped and reflected the new consumer-driven culture that arose during the bubble era of the 1980s and 1990s. Through a fascinating tale of art directors and their works and influences, Bartal shows how this postmodern visual language, like postmodernism in other streams, is distinguished by its mŽlange of styles, blurring of boundaries between art and design, and reliance on visual and textual quotations from sources past and present, domestic and foreign. Although this advertising culture partakes of global trends, Bartal draws attention to the varied local artistic sensibilities, structures of thought, and underlying practices, challenging the often-simplistic characterization of "Japaneseness" as being rooted in a Zen tradition of aesthetic indirectness and ambiguity. Combining multilingual scholarship with a wealth of information gleaned through years of personal interviews with the principals involved, this is a truly original contribution to the discussion of Japanese art and advertising as well as an insightful reading of more general issues in the study of visual culture and media.
The bursting of the economic bubble in the 1990s shook the very foundation of the post-war economic 'miracle' and marked the beginning of a gradual shift in the environmental consciousness of the Japanese. Yet, it by no means removed consumption from the pivotal position it occupied within Japanese society. Consuming Life in Post-Bubble Japan argues that consumption in Japan today is no longer simply a component of everyday economic activities, but rather a reflection of a society guided by the 'logic of late capitalism'. The volume pins down the contradictory nature of the setting in which consuming occurs in Japan today: the veneration of material comfort and convenience on the one hand, and the new rhetoric of recycling and energy conservation on the other. Theoretical insights developed as part of an art-historical enquiry, such as notions of socially engaged art and its critique, offer a new paradigm for investigating this dilemma. By combining case studies analysing the production and consumption of contemporary art with ethnographic material related to ordinary commodities and shopping, this volume provides a novel, transdisciplinary approach to exploring how a 'society of consumers' operates in post-bubble Japan and how contemporary life is a 'consuming project'.
This book tells the story of critical avant-garde design in Japan, which emerged during the 1960s and continues to inspire designers today. The practice communicates a form of visual and material protest drawing on the ideologies and critical theories of the 1960s and 1970s, notably feminism, body politics, the politics of identity, and ecological, anti-consumerist and anti-institutional critiques, as well as the concept of otherness. It also presents an encounter between two seemingly contradictory concepts: luxury and the avant-garde. The book challenges the definition of design as the production of unnecessary decorative and conceptual objects, and the characterisation of Japanese design in particular as beautiful, sublime or a product of 'Japanese culture'. In doing so it reveals the ways in which material and visual culture serve to voice protest and formulate a social critique.
This is the only book of its kind - written by an anthropologist who spent twelve months doing fieldwork in a major Tokyo agency and who has spent the past 30 years studying and living in Japan. By examining the production of advertising, this book turns other semiotics, media and cultural studies theories on their heads. By analysing the social structure of a modern media organization from the inside, it makes anthropology relevant and intellectually stimulating. By treating the Japanese as a more-or-less normal and rational people, it explodes the usual myths of exotic Japan and steps boldly into a global arena that embraces 'east' and 'west' in a new theory of values.
Using the Euro-American theoretical framework of postmodernism, feminism and post-colonialism, this book analyses the fictional and critical work of four contemporary Japanese writers; Murakami Haruki, Yoshimoto Banana, Yoshimoto Takaaki and Karatani Kojin. In addition the author reconsiders this Euro-American theory by looking back on it from the perspective of Japanese literary work. Presenting outstanding analysis of Japanese intellectuals and writers who have received little attention in the West, the book also includes an extensive and comprehensive bibliography making it essential reading for those studying Japanese literature, Japanese studies and Japanese thinkers.
"Brings together critical historical documents, many of which are translated into English for the first time, in Japanese arts from the end of World War II through the next four and a half decades."--Page 14.
Advertising and Reality: A Global Study of Representation and Content offers, for the first time, an extensive study of the way our life is represented in advertising. Leading scholars from different countries, who specialize in marketing communication and media studies, review and analyze different advertising contents and give us a truly cross-cultural view of the matter. Among the contents that are thoroughly discussed throughout the book one finds sexuality, violence, family activities, gender roles, vocations, minorities roles, periodical reconstruction and more. This book provides an up-to-date picture of the way modern life is portrayed in the most popular format of marketing communication worldwide.
Providing an overview of Japanese media theory from the 1910s to the present, this volume introduces English-language readers to Japan's rich body of theoretical and conceptual work on media for the first time. The essays address a wide range of topics, including the work of foundational Japanese thinkers; Japanese theories of mediation and the philosophy of media; the connections between early Japanese television and consumer culture; and architecture's intersection with communications theory. Tracing the theoretical frameworks and paradigms that stem from Japan's media ecology, the contributors decenter Eurocentric media theory and demonstrate the value of the Japanese context to reassessing the parameters and definition of media theory itself. Taken together, these interdisciplinary essays expand media theory to encompass philosophy, feminist critique, literary theory, marketing discourse, and art; provide a counterbalance to the persisting universalist impulse of media studies; and emphasize the need to consider media theory situationally. Contributors. Yuriko Furuhata, Aaron Gerow, Mark Hansen, Marilyn Ivy, Takeshi Kadobayashi, Keisuke Kitano, Akihiro Kitada, Thomas Looser, Anne McKnight, Ryoko Misono, Akira Mizuta Lippit, Miryam Sas, Fabian Schäfer, Marc Steinberg, Tomiko Yoda, Alexander Zahlten