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
Okakura s conception of Asia was only derived from a binary oppositioning
between East and West" (46). Furthermore, Lee's music does not presuppose
any center in the process of Asian cross-fertilization. Ueda approves of Lee's
claims that ...
He had come to realize that his trademark style— the subtle and playful
interweaving of traditional Asian music with Western pop — could be pursued
equally well by Westerners. As Lee commented: "I know that if I re-make well-
known Asian ...