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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These moves testify to the increasing trend of global media mergers which aim to
offer a "total cultural package'^of various media products under a single media
conglomerate (Schiller 1991).7 After all, the reason Sony and Matsushita bought
"locality," in which audiences are thought to find pleasure through the
consumption of cultural products from supposedly culturally similar nations (
Straubhaar 1991; Sinclair, Jacka, and Cunningham 1996a). The reservation
about claims for ...
Shirahata (1996), like Honda, stresses the culturally odorless, or muko- kuseki,
nature of Japanese cultural products that are globally well received. Shirahata (
1996, 240) argues that unlike traditional Japanese high culture, the