Recentering Globalization

Iwabuchi Koichi Iwabuchi

Description

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. Pokemon, 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.

Sujets

• Histoire
• Popular culture
• Globalization
• History of Asia
• Japan

Informations

• Publié par: Duke University Press
• Date de parution: 08 novembre 2002
• Nombre de lectures: 0
• EAN13: 9780822384083
• Langue: English
• Poids de l'ouvrage: 1 Mo

Extrait

● Recentering globalization

●

Koichi Iwabuchi

Recentering globalization

Popular culture and Japanese transnationalism

Duke University Press

2002

Durham and London

∫2002 Duke University Press

All rights reserved

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Contents

1

2

3

4

5

6

Acknowledgments vii

Note on Japanese names ix

Introduction: The 1990s—Japan returns to Asia in the age

of globalization 1

Taking ‘‘Japanization’’ seriously: Cultural globalization

reconsidered 23

Trans/nationalism: The discourse on Japan in the global

cultural flow 51

Localizing ‘‘Japan’’ in the booming Asian markets 85

Becoming culturally proximate: Japanese TV dramas in Taiwan 121

Popular Asianism in Japan: Nostalgia for (di√erent) Asian

modernity 158

Japan’s Asian dreamworld 199

Notes 211

References 233

Index 261

Acknowledgments

This book is based on my Ph.D. dissertation submitted to University of Western Sydney Nepean in 1999, which was awarded the best Ph.D disser- tation prize for that year by the Australian Association of Asian Studies. So many people supported me in various ways writing this book. I most thank Professor Ien Ang for her always rigorous and productive criticisms and suggestions on my earlier drafts and her warm encouragement. I also owe thanks to those who read and commented on my earlier draft such as Judith Snodgrass, Tessa Morris-Suzuki, Mandy Thomas, Shuhei Hosokawa, Anne Allison, James Lull, and Ulf Hannerz; and to those who helped me improve my English expression such as Eduardo Ugarte, Roberta James, Adrian Snodgrass, Sandra Wilson, David Wells, David Kelly, and Jennifer Prough. My thanks also go to those who assisted my field work in Japan, Taiwan, Hong Kong, and Singapore; to mention just a few, Hara Yumiko, Adachi Miki,KimuraAkiko,HondaShir¯o,YoshimiShunya,KosakuYoshino, Georgette Wang, Lee Tain-Dow, Su Yu-Ling, Grace Wang, Tanaka Akira, Yao Souchou, and Cheng Shiowjiuan. I also wish to thank to all the people who spared their precious time for my interviews in Taipei, Hong Kong, Singapore, Kuala Lumpur, and Tokyo. My thanks are also extended to the sta√ of Duke University Press, especially to Ken Wissoker for his support for this project, and to Shelley Wunder Smith for her attentive editorial assis- tance to the last moment. Nepean Postgraduate Research Award of the University of Western Syd- ney, Nepean financially supported my doctoral life. The field research was supported by a Toyota Foundation Grant 1996–1997. The School of Cul- tural Histories and Futures of University of Western Sydney Nepean also supported field research and the copyediting of the manuscript. In Singa- pore in January 1995, my research was conducted as a research associate of the Institute of Southeast Asian Studies. In Tokyo, the Institute of Socio- Information and Communication Studies of the University of Tokyo and

NHK Broadcasting Culture Research Institute generously allowed me to access their library resources. Portions of chapters 2, 4, and 5 originally appeared as material in the following publications: ‘‘Uses of Japanese Popular Culture: Media Global- ization and Postcolonial Desire for ‘Asia,’ ’’Emergences: Journal of Media and Composite Cultures11, no. 2 (2001); ‘‘Becoming Culturally Proximate: A/ Scent of Japanese Idol Dramas in Tawain,’’ B. Moeran, ed.,Asian Media Productions(London: Curzon, 2001); ‘‘Nostalgia for a (Di√erent) Asian Mo- dernity: Media Consumption of ‘Asia’ in Japan’’positions: east asia cultures critique10, no. 3 (2002). Finally, I would like to share the pleasure of this accomplishment with my wife and daughter, Michiyo and Lina, who have seen this project through to the completion, despite numerous frustrations. Their encouragement and distraction a√orded me spiritual nourishment. I dedicate this volume to them as a token of a√ection and gratitude.

viii

Recentering globalization

Note on Japanese Names

This book follows the Japanese convention that family names precede per- sonal names. However, the names of the Japanese authors of English lan- guage works (except translations) follow the English convention of the personal name preceding the family name (e.g., Kosaku Yoshino). Macrons are put on long Japanese vowels except in the case of place names (e.g., Tokyo), words commonly used in English (e.g., Shinto), and author names which usually appear without a macron in their English language works (e.g., Shuhei Hosokawa).