The younger generation of Taiwanese do not merely consume Japanese popular culture as a ‘foreign’ product; they have integrated Japanese cultural elements into many aspects of Taiwan’s local cultural creations as a Taiwan–Japan hybrid form. One example of this is that the majority of Taiwanese visual artists follow the Japanese manga format, aesthetics and grammar when they create their own work. In this article, we examine trends of moe anthropomorphism in manga, a method that personifies animals, objects, cities and natural phenomena as cute human characters. Using a cultural studies framework, we trace how Japanese moe anthropomorphism helps Taiwanese visual artists and local governments to promote domestic tourism and further individuals’ desire to get to know Taiwan. The spokes-character, Sakura Shrimp, serves as an example to illustrate the trend, the purpose and the readers’ responses to this new way of local tourism marketing.
{"title":"Sakura Shrimp as a hybrid spokes-character: How Japanese moe anthropomorphism promotes tourism in Taiwan","authors":"Yen-Zhi Peng, H. Yueh","doi":"10.1386/eapc_00087_1","DOIUrl":"https://doi.org/10.1386/eapc_00087_1","url":null,"abstract":"The younger generation of Taiwanese do not merely consume Japanese popular culture as a ‘foreign’ product; they have integrated Japanese cultural elements into many aspects of Taiwan’s local cultural creations as a Taiwan–Japan hybrid form. One example of this is that the majority of Taiwanese visual artists follow the Japanese manga format, aesthetics and grammar when they create their own work. In this article, we examine trends of moe anthropomorphism in manga, a method that personifies animals, objects, cities and natural phenomena as cute human characters. Using a cultural studies framework, we trace how Japanese moe anthropomorphism helps Taiwanese visual artists and local governments to promote domestic tourism and further individuals’ desire to get to know Taiwan. The spokes-character, Sakura Shrimp, serves as an example to illustrate the trend, the purpose and the readers’ responses to this new way of local tourism marketing.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44009276","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines Chinese animation Baishe: Yuanqi (White Snake) () and discusses how ecoaesthetics are intertwined with questions of gender representations. Ecoaesthetics are broadly defined to consider the relationship between the human and natural world via de-anthropocentrism – which is the criticism of a human-centred view of the world that surrounds us. The film White Snake focuses on a man who becomes a monster to be with the creature he loves. This article argues that White Snake provides a multi-species model for ecocriticism. On the one hand, the film presents ecological thoughts that showcases a contradictory but symbiotic relationship between human and non-humans; on the other hand, the film neglects the connection between ecoaesthetics and feminist criticism so that it ends up portraying an ecological system that is under the inveterate patriarchal reign and therefore violates ideas around equality in ecoaesthetics. I propose a notion becoming-monster to decipher this ambivalent ecoaesthetic representation. The representation of becoming-monster showcases the harmony that can potentially exist between the human and the non-human appealing de-anthropocentric actions while the ideal image of the equality between human and non-human others is in fact under the male gaze.
{"title":"Becoming-monster: Ecoaesthetics and feminist criticism of Chinese animation White Snake (2019)1","authors":"Xi W. Liu","doi":"10.1386/eapc_00092_1","DOIUrl":"https://doi.org/10.1386/eapc_00092_1","url":null,"abstract":"This article examines Chinese animation Baishe: Yuanqi (White Snake) () and discusses how ecoaesthetics are intertwined with questions of gender representations. Ecoaesthetics are broadly defined to consider the relationship between the human and natural world via de-anthropocentrism – which is the criticism of a human-centred view of the world that surrounds us. The film White Snake focuses on a man who becomes a monster to be with the creature he loves. This article argues that White Snake provides a multi-species model for ecocriticism. On the one hand, the film presents ecological thoughts that showcases a contradictory but symbiotic relationship between human and non-humans; on the other hand, the film neglects the connection between ecoaesthetics and feminist criticism so that it ends up portraying an ecological system that is under the inveterate patriarchal reign and therefore violates ideas around equality in ecoaesthetics. I propose a notion becoming-monster to decipher this ambivalent ecoaesthetic representation. The representation of becoming-monster showcases the harmony that can potentially exist between the human and the non-human appealing de-anthropocentric actions while the ideal image of the equality between human and non-human others is in fact under the male gaze.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41955574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Manga as a cultural art form delves into various sociocultural issues and narratives, and the representation of diverse cultural contexts in manga has increased over the years. The role of Japanese manga as a site for intercultural understanding and engagement is worth further investigation, and research in this area is still growing. This article explores intercultural dialogue through a case study of the Japanese manga Satoko and Nada Volume 1 by Yupechika, which narrates the friendship between Satoko, a young Japanese woman, and Nada, her Saudi Muslim roommate. It adopts a literary approach to the analysis of the manga and employs textual analysis as the methodology. The manga is analysed through the lens of interculturalism and deep dialogue focusing on the themes of food, fashion and faith. Through the analysis, readers are exposed to the narrative of intercultural engagement as portrayed by the mangaka. Yupechika incorporates pre-existing prejudices in the engagement between the two culturally diverse characters. The narrative arc reveals the importance of empathy, space and value sharing in forging intercultural understanding. This reading into Yupechika’s intercultural narrative is a microcosm of the type of dialogue needed in the world today to overcome the acute racism and xenophobia.
漫画作为一种文化艺术形式，深入探讨了各种社会文化问题和叙事，多年来，漫画中对不同文化背景的表现越来越多。日本漫画作为跨文化理解和参与的网站的作用值得进一步研究，这一领域的研究仍在不断增加。本文通过Yupechika的日本漫画《Satoko and Nada Volume 1》的个案研究，探讨了跨文化对话。该漫画讲述了日本年轻女子Satoko和她的沙特穆斯林室友Nada之间的友谊。它采用文学的方法来分析漫画，并采用文本分析作为方法论。这部漫画以食物、时尚和信仰为主题，通过跨文化和深度对话的视角进行分析。通过分析，读者可以接触到漫画所描绘的跨文化参与的叙事。Yupechika在两个不同文化的角色之间的交往中融入了预先存在的偏见。叙事弧线揭示了移情、空间和价值分享在形成跨文化理解中的重要性。对Yupechika跨文化叙事的解读是当今世界克服严重种族主义和仇外心理所需对话类型的缩影。
{"title":"Intercultural dialogue in manga: Building friendships, sharing spaces and values","authors":"M. Perry, Raihanah M. M., Zalina Mohd Lazim","doi":"10.1386/eapc_00089_1","DOIUrl":"https://doi.org/10.1386/eapc_00089_1","url":null,"abstract":"Manga as a cultural art form delves into various sociocultural issues and narratives, and the representation of diverse cultural contexts in manga has increased over the years. The role of Japanese manga as a site for intercultural understanding and engagement is worth further investigation, and research in this area is still growing. This article explores intercultural dialogue through a case study of the Japanese manga Satoko and Nada Volume 1 by Yupechika, which narrates the friendship between Satoko, a young Japanese woman, and Nada, her Saudi Muslim roommate. It adopts a literary approach to the analysis of the manga and employs textual analysis as the methodology. The manga is analysed through the lens of interculturalism and deep dialogue focusing on the themes of food, fashion and faith. Through the analysis, readers are exposed to the narrative of intercultural engagement as portrayed by the mangaka. Yupechika incorporates pre-existing prejudices in the engagement between the two culturally diverse characters. The narrative arc reveals the importance of empathy, space and value sharing in forging intercultural understanding. This reading into Yupechika’s intercultural narrative is a microcosm of the type of dialogue needed in the world today to overcome the acute racism and xenophobia.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43177185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Alluring Monsters: The Pontianak and Cinemas of Decolonization, Rosalind Galt (2021) New York: Columbia University Press, 312 pp., ISBN 978-0-23120-133-9, p/bk, $35.00
{"title":"Alluring Monsters: The Pontianak and Cinemas of Decolonization, Rosalind Galt (2021)","authors":"Philippe Mather","doi":"10.1386/eapc_00093_5","DOIUrl":"https://doi.org/10.1386/eapc_00093_5","url":null,"abstract":"Review of: Alluring Monsters: The Pontianak and Cinemas of Decolonization, Rosalind Galt (2021)\u0000 New York: Columbia University Press, 312 pp.,\u0000 ISBN 978-0-23120-133-9, p/bk, $35.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45570744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1967, Shochiku, a Japanese film production company, released the kayō eiga (‘popular song film’) Shingapōru no yo ha fukete (Under the Stars of Singapore), starring Hashi Yukio and set in the newly independent country of Singapore. Through an analysis of the film, which highlights the experience of the Asia-Pacific War and the Japanese occupation of Singapore, this article discusses the memory of war and imperialism in Japan in the late 1960s. Previous studies have argued that works of Japanese popular culture around 1960 reveal Asianist desires. However, in focusing on kayō eiga of the late 1960s, seen as marking the end of the ‘transwar era’ in Japan, I find that Asianist desires are minimal and that the stories more strongly echo themes of Cold War-era Japanese pacifism. This reflects the changing narratives of war in the context of generational shifts and Japan’s rapid economic growth, as well as the contemporary transformation of Japan’s involvement in South East Asia.
{"title":"Japan’s memory of war and imperialism in kayō eiga: Shochiku’s Under the Stars of Singapore and Asianism1","authors":"Masakazu Matsuoka","doi":"10.1386/eapc_00086_1","DOIUrl":"https://doi.org/10.1386/eapc_00086_1","url":null,"abstract":"In 1967, Shochiku, a Japanese film production company, released the kayō eiga (‘popular song film’) Shingapōru no yo ha fukete (Under the Stars of Singapore), starring Hashi Yukio and set in the newly independent country of Singapore. Through an analysis of the film, which highlights the experience of the Asia-Pacific War and the Japanese occupation of Singapore, this article discusses the memory of war and imperialism in Japan in the late 1960s. Previous studies have argued that works of Japanese popular culture around 1960 reveal Asianist desires. However, in focusing on kayō eiga of the late 1960s, seen as marking the end of the ‘transwar era’ in Japan, I find that Asianist desires are minimal and that the stories more strongly echo themes of Cold War-era Japanese pacifism. This reflects the changing narratives of war in the context of generational shifts and Japan’s rapid economic growth, as well as the contemporary transformation of Japan’s involvement in South East Asia.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46815116","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the assistance of textual analysis, this article examines the images of yingling (spirits of aborted or miscarried foetuses) in The Tag-Along and The Tag-Along 2. This popular cinematic demonology searches for a Taiwanese identity through urban legends and folklore. In the films, yingling are imagined as pitiful and malevolent. The spiritual being has desires, emotions and agency. This feto-centric imagination echoes the religious discourses that frame the newly popularized abortion ritual in Taiwan. Women are depicted as determined, independent and mutually supportive. However, the essentialist sexual differences remain highlighted, meaning that they are portrayed as mothers, and their bodies are represented through polluting blood, a signifier of excessive yin that serves the patrilineal needs of reproduction. During the process of modernization, Taiwanese society experienced drastic changes, yet, the ghost, as the persistent past, continues to impact the present. Through the investigation of irrationality, the reality surrounding women and children is revisited and debated.
{"title":"Yingling and women imagery in contemporary Taiwanese media culture: The Tag-Along film series as an example","authors":"Grace Cheng-Ying Lin","doi":"10.1386/eapc_00091_1","DOIUrl":"https://doi.org/10.1386/eapc_00091_1","url":null,"abstract":"With the assistance of textual analysis, this article examines the images of yingling (spirits of aborted or miscarried foetuses) in The Tag-Along and The Tag-Along 2. This popular cinematic demonology searches for a Taiwanese identity through urban legends and folklore. In the films, yingling are imagined as pitiful and malevolent. The spiritual being has desires, emotions and agency. This feto-centric imagination echoes the religious discourses that frame the newly popularized abortion ritual in Taiwan. Women are depicted as determined, independent and mutually supportive. However, the essentialist sexual differences remain highlighted, meaning that they are portrayed as mothers, and their bodies are represented through polluting blood, a signifier of excessive yin that serves the patrilineal needs of reproduction. During the process of modernization, Taiwanese society experienced drastic changes, yet, the ghost, as the persistent past, continues to impact the present. Through the investigation of irrationality, the reality surrounding women and children is revisited and debated.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45689665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1007/978-3-031-25767-4
R. Cheung
{"title":"Hong Kong's New Indie Cinema","authors":"R. Cheung","doi":"10.1007/978-3-031-25767-4","DOIUrl":"https://doi.org/10.1007/978-3-031-25767-4","url":null,"abstract":"","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"299 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89030733","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-01DOI: 10.1007/978-3-031-29739-7
Gemma Ballard
{"title":"Urban Landscapes and National Visions in Post-Millennial South Korean Cinema","authors":"Gemma Ballard","doi":"10.1007/978-3-031-29739-7","DOIUrl":"https://doi.org/10.1007/978-3-031-29739-7","url":null,"abstract":"","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84311488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The gendered memorializing of the War of Resistance against Japan (1931–45) has been an important part of China’s war memory politics in all of the different phases it has undergone since 1945. In the Mao era, the iconography of the ‘Anti-Japanese female revolutionary martyrdoms’ rose to prominence, while the following reformation period consolidated a she-victim/he-hero dichotomy most forcefully characterized by the visualization of the Nanjing Massacre through violated female bodies symbolizing the nation’s victimhood. This article argues that in the Xi Jinping era, women’s roles in museums have begun to transform again. Coming from the viewpoint of a feminist critique, it approaches five prominent war museums in mainland China with gender as its main analytical category, studying women’s representations in the memorial spaces and exhibitions. It suggests that the current trends introduced the role of survivor of sexual violence and female soldier into the museal landscape, slightly complicating the previous gendered repertoires in the war’s musealization. By exploring the Chinese sociocultural themes of ‘chastity martyrdom’ and ‘female warriors’ and the multi-layered politics of the so-called ‘comfort women’ it discusses the extent to which the strategies used to portray women serve patriarchal nationalism rather than women’s interests.
{"title":"Survivors, victims and soldiers as figures of nationalism: Representations of women in the War of Resistance against Japan museums in mainland China","authors":"Markéta Bajgerová Verly","doi":"10.1386/eapc_00080_1","DOIUrl":"https://doi.org/10.1386/eapc_00080_1","url":null,"abstract":"The gendered memorializing of the War of Resistance against Japan (1931–45) has been an important part of China’s war memory politics in all of the different phases it has undergone since 1945. In the Mao era, the iconography of the ‘Anti-Japanese female revolutionary martyrdoms’ rose to prominence, while the following reformation period consolidated a she-victim/he-hero dichotomy most forcefully characterized by the visualization of the Nanjing Massacre through violated female bodies symbolizing the nation’s victimhood. This article argues that in the Xi Jinping era, women’s roles in museums have begun to transform again. Coming from the viewpoint of a feminist critique, it approaches five prominent war museums in mainland China with gender as its main analytical category, studying women’s representations in the memorial spaces and exhibitions. It suggests that the current trends introduced the role of survivor of sexual violence and female soldier into the museal landscape, slightly complicating the previous gendered repertoires in the war’s musealization. By exploring the Chinese sociocultural themes of ‘chastity martyrdom’ and ‘female warriors’ and the multi-layered politics of the so-called ‘comfort women’ it discusses the extent to which the strategies used to portray women serve patriarchal nationalism rather than women’s interests.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46246580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I examine the history of audience laughter on Japanese television and its role in producing and sustaining the image of an intimate, family-like public during the medium’s early decades. With a focus on the progressive gendering of audience laughter on Japanese television from the 1960s onwards, I demonstrate how the move to procure female laughter on the medium reflected broader ideological expectations that women and their laughter might unify a family-like, national audience. I argue that Japanese television sought to leverage female laughter – both concretely through paid waraiya ‘laughers’ in the audience and through the gender ideology surrounding laughter – to negotiate television’s foundational tensions between the public and the private. More broadly, I suggest that the history of television laughter and its gendering can throw into relief television’s co-imbrication with discourses on gender, nation and consumption.
{"title":"‘Can mom laugh?’: The production of the Japanese television family, 1960s–80s","authors":"David Humphrey","doi":"10.1386/eapc_00077_1","DOIUrl":"https://doi.org/10.1386/eapc_00077_1","url":null,"abstract":"In this article, I examine the history of audience laughter on Japanese television and its role in producing and sustaining the image of an intimate, family-like public during the medium’s early decades. With a focus on the progressive gendering of audience laughter on Japanese television from the 1960s onwards, I demonstrate how the move to procure female laughter on the medium reflected broader ideological expectations that women and their laughter might unify a family-like, national audience. I argue that Japanese television sought to leverage female laughter – both concretely through paid waraiya ‘laughers’ in the audience and through the gender ideology surrounding laughter – to negotiate television’s foundational tensions between the public and the private. More broadly, I suggest that the history of television laughter and its gendering can throw into relief television’s co-imbrication with discourses on gender, nation and consumption.","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47304484","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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