Recentering globalization: popular culture and Japanese transnationalism
Duke University Press, 2002 - 275 ページ
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.
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Singapore no attempt is made to insert its diversity of cultures into a nationalizing
melting pot that homogenizes them: "Dick Lee for the first time succeeded in
making Asian pop music attain a consistent multiplex structure, so much so that
According to Ueda, Dick Lee's "One Song" succeeds in expressing an Asian
aesthetic by incorporating different Asian musical traditions and languages into a
new form without rejecting the West: "Dick Lee's message 'Let's sing one song' is
A notable exception is Shinozaki (1990a), who places Dick Lee's music in the
political and sociocultural context of Singapore. Okakura, it should be noted,
wrote mostly in English and thus was writing for a predominantly Western