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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This explains why, while the medium for Hollywood stars is film, intimate pop
idols are better produced using tv as a medium. The frequent exposure of a pop
idol through commercial films and other tv programs makes him or her appear to
Imitating the Japanese model was an easy and safe way to for the then not-so-
mature Taiwanese music industry to promote its own pop idols; producers
thought that the success of the Japanese system would guarantee their own
In the 1 980s, when Japanese idols were famous in East Asia, audiences were
limited to a minority of Japanophiles. ... when Hong Kong was importing more
Japanese tv programs and there emerged enthusiastic fans of Japanese pop