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.
検索結果1-3 / 47
As I will discuss in great detail in the subsequent chapters, the assumption about
Japan's leading role in Asia in terms of ... This kind of materialist interpretation of
the spread of Japanese popular culture in East and Southeast Asia tends to ...
It is often observed that the spread of Japanese popular culture in Asia owes
much to the "cultural proximity" (Straubhaar 1991) between Japan and other
Asian nations. The notion of "cultural proximity" tends to connote the seemingly
A "hybrid" male pop group, Y2K (made up of two Japanese and one South
Korean), became top idols in South Korea in 1 999 ... It is true that the economic
crisis has to some extent inhibited the spread of Japanese popular culture in