In modern history, Japan has undergone an enormous transformation that created a huge middle-class with its own popular culture. This thematic section of the East Asian Journal of Popular Culture examines the way in which popular culture emerged from an early authoritarian control over culture and production. Four articles examine the ways in which forms of popular culture have evolved as the marketplace has adopted more liberal regulation. The place of gender and gender roles is particularly salient in understanding this transformation. This transformation is described using examples from both men’s and women’s fashion magazines (by Martyn David Smith and Satoshi Ota), the use of televised laughter (by David Humphrey) and the evolution of the place of women in Takarazuka theatre (by Toshiko Irie).
在现代史上，日本经历了一场巨大的变革，造就了一个拥有自己流行文化的庞大中产阶级。《东亚流行文化杂志》的这一主题部分探讨了流行文化从早期对文化和生产的独裁控制中产生的方式。四篇文章探讨了随着市场采用更自由的监管，流行文化形式的演变方式。在理解这种转变时，性别和性别角色的地位尤为突出。这一转变是通过男性和女性时尚杂志（Martyn David Smith和Satoshi Ota著）、电视笑声的使用（David Humphrey著）和女性在宝冢剧院的地位演变（Toshiko Irie著）的例子来描述的。
{"title":"A modern popular culture in middle-class Japan","authors":"S. Sommers","doi":"10.1386/eapc_00075_2","DOIUrl":"https://doi.org/10.1386/eapc_00075_2","url":null,"abstract":"In modern history, Japan has undergone an enormous transformation that created a huge middle-class with its own popular culture. This thematic section of the East Asian Journal of Popular Culture examines the way in which popular culture emerged from an early authoritarian control over culture and production. Four articles examine the ways in which forms of popular culture have evolved as the marketplace has adopted more liberal regulation. The place of gender and gender roles is particularly salient in understanding this transformation. This transformation is described using examples from both men’s and women’s fashion magazines (by Martyn David Smith and Satoshi Ota), the use of televised laughter (by David Humphrey) and the evolution of the place of women in Takarazuka theatre (by Toshiko Irie).","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":"41648608","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 the ambiguous relationship between masculinity and consumerism in Japan since the Taisho period. It charts the creation of Heibon Punch, the first post-war lifestyle magazine aimed explicitly at men. In contrast to the corporate ideological reaffirmation of, or passive submission to, political and economic ideology hegemonic salaryman masculinity would come to epitomize, in the magazine consumerism was presented as a means of establishing individuality, creativity, agency and self-expression. Rather than seeing the rise of men’s lifestyle magazines in the 1960s as reconstituting Japanese masculinity through struggles against the deleterious, feminizing effects of mass consumption, I argue instead that there was an attempt to defeminize the act of consumption itself and establish a masculinity at ease with the new imperative to go shopping. Underpinning this was the ongoing quest for a revolution in Japanese masculinity that challenged the association, since at least the 1920s, of individual consumption with feminine traits of hedonism, spontaneity and irrationality. In the 1960s, this quest countered the increasingly hegemonic connection of masculinity and male consumption to middle-class domesticity by offering the chance for young Japanese salarymen to envision a masculinity at ease with consumer society.
{"title":"The ‘hedonistic revolution of everyday life’: Men’s magazines, consumerism and the Japanese salaryman in the 1960s","authors":"M. Smith","doi":"10.1386/eapc_00076_1","DOIUrl":"https://doi.org/10.1386/eapc_00076_1","url":null,"abstract":"This article examines the ambiguous relationship between masculinity and consumerism in Japan since the Taisho period. It charts the creation of Heibon Punch, the first post-war lifestyle magazine aimed explicitly at men. In contrast to the corporate ideological reaffirmation of, or passive submission to, political and economic ideology hegemonic salaryman masculinity would come to epitomize, in the magazine consumerism was presented as a means of establishing individuality, creativity, agency and self-expression. Rather than seeing the rise of men’s lifestyle magazines in the 1960s as reconstituting Japanese masculinity through struggles against the deleterious, feminizing effects of mass consumption, I argue instead that there was an attempt to defeminize the act of consumption itself and establish a masculinity at ease with the new imperative to go shopping. Underpinning this was the ongoing quest for a revolution in Japanese masculinity that challenged the association, since at least the 1920s, of individual consumption with feminine traits of hedonism, spontaneity and irrationality. In the 1960s, this quest countered the increasingly hegemonic connection of masculinity and male consumption to middle-class domesticity by offering the chance for young Japanese salarymen to envision a masculinity at ease with consumer society.","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":"43562821","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: The Anime Ecology: A Genealogy of Television, Animation, and Game Media, Thomas Lamarre (2018) Minneapolis, MN: University of Minnesota Press, 424 pp., ISBN 978-1-51790-450-0, p/bk, $27.00
{"title":"The Anime Ecology: A Genealogy of Television, Animation, and Game Media, Thomas Lamarre (2018)","authors":"Mathieu Rondeau","doi":"10.1386/eapc_00082_5","DOIUrl":"https://doi.org/10.1386/eapc_00082_5","url":null,"abstract":"Review of: The Anime Ecology: A Genealogy of Television, Animation, and Game Media, Thomas Lamarre (2018)\u0000Minneapolis, MN: University of Minnesota Press, 424 pp.,\u0000ISBN 978-1-51790-450-0, p/bk, $27.00","PeriodicalId":36135,"journal":{"name":"East Asian Journal of Popular Culture","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41531564","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: Staging Personhood: Costuming in Early Qing Drama, Guojun Wang (2020) New York: Columbia University Press, 312 pp., ISBN 978-0-23119-190-6, h/bk, £50.00/$65.00
{"title":"Staging Personhood: Costuming in Early Qing Drama, Guojun Wang (2020)","authors":"Adam D. Frank","doi":"10.1386/eapc_00083_5","DOIUrl":"https://doi.org/10.1386/eapc_00083_5","url":null,"abstract":"Review of: Staging Personhood: Costuming in Early Qing Drama, Guojun Wang (2020)\u0000New York: Columbia University Press, 312 pp.,\u0000ISBN 978-0-23119-190-6, h/bk, £50.00/$65.00","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":"42596879","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: The Landscape of Historical Memory: The Politics of Museums and Memorial Culture in Post-Martial Law Taiwan, Kirk A. Denton (2021) Hong Kong: Hong Kong University Press, 284 pp., ISBN 978-9-88852-8-578, h/bk, HKD 620.00
{"title":"The Landscape of Historical Memory: The Politics of Museums and Memorial Culture in Post-Martial Law Taiwan, Kirk A. Denton (2021)","authors":"Yan Ying","doi":"10.1386/eapc_00084_5","DOIUrl":"https://doi.org/10.1386/eapc_00084_5","url":null,"abstract":"Review of: The Landscape of Historical Memory: The Politics of Museums and Memorial Culture in Post-Martial Law Taiwan, Kirk A. Denton (2021)\u0000Hong Kong: Hong Kong University Press, 284 pp.,\u0000ISBN 978-9-88852-8-578, h/bk, HKD 620.00","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":"44602249","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}
Research on Hong Kong identity has focused on several pivotal periods (the 1997 Handover, and the 2014 and 2019 protests), which situates local, postcolonial Hong Kong identity as oppositional to a national Chinese identity. While these time points are critical, it is also important to attend to earlier Hong Kong media, including humorous works. Better understanding of how Hong Kong humour operates expands our knowledge about humour, identity and media studies beyond the prolific cinematic output. This article reports on the content analysis of 8.8 hours of the sketch comedy show, 雙星報喜 (The Hui Brothers Show) 1971–72. The Hui brothers broke the ‘two fools’ tradition of vernacularized and self-deprecating comedy by incorporating content reflecting Hongkongers’ everyday experience and coinciding with a rise in television viewership. We report three representative themes: (1) luxury and novelty, (2) social commentaries and behaviour governance and (3) the normalization and centring of working-class lifestyles as ‘Hong Kong’ lifestyles. We argue that these themes from the 1970s have planted the seeds to Hong Kong identity boundaries that have been (re)constructed and (re)imagined in contemporary Hong Kong history thus offering opportunities for collective self-reflection about what it meant to be a Hongkonger then and what it means now.
{"title":"Examining the emergence of Hong Kong identity: A critical study of the 1970s Cantonese sketch comedy, The Hui Brothers Show","authors":"Charles Lam, Genevieve Leung","doi":"10.1386/eapc_00074_1","DOIUrl":"https://doi.org/10.1386/eapc_00074_1","url":null,"abstract":"Research on Hong Kong identity has focused on several pivotal periods (the 1997 Handover, and the 2014 and 2019 protests), which situates local, postcolonial Hong Kong identity as oppositional to a national Chinese identity. While these time points are critical, it is also important to attend to earlier Hong Kong media, including humorous works. Better understanding of how Hong Kong humour operates expands our knowledge about humour, identity and media studies beyond the prolific cinematic output. This article reports on the content analysis of 8.8 hours of the sketch comedy show, 雙星報喜 (The Hui Brothers Show) 1971–72. The Hui brothers broke the ‘two fools’ tradition of vernacularized and self-deprecating comedy by incorporating content reflecting Hongkongers’ everyday experience and coinciding with a rise in television viewership. We report three representative themes: (1) luxury and novelty, (2) social commentaries and behaviour governance and (3) the normalization and centring of working-class lifestyles as ‘Hong Kong’ lifestyles. We argue that these themes from the 1970s have planted the seeds to Hong Kong identity boundaries that have been (re)constructed and (re)imagined in contemporary Hong Kong history thus offering opportunities for collective self-reflection about what it meant to be a Hongkonger then and what it means now.","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":"48792790","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}
Around the year 2000, the word joshi began to appear in women’s magazines, as in otona-joshi (‘adult girls’), 30 dai joshi (‘30-something girls’) and 40 dai joshi (‘40-something girls’). These terms have been commonly used not only in magazines but also on television and in everyday conversation. Though joshi implies female children and teenage girls, the term occasionally refers to women in their 30s and 40s who are supposed to be recognized as grown adults. The word joshi implies youth and vigour. This article examines how the image of women in their 30s and 40s has changed over the past decades and joshi has become an accepted word to refer to them. Contrary to its positive image, the word also connotes immaturity. Central to exploring how the notion of maturity has changed over the past 30 years are the writings of popular essayists and the women’s magazines they frequently read when they were young. This is further contextualized with a brief history of Japanese women’s magazines as to illustrate how women have responded to the notion of maturity imposed on them created after modernization.
大约在2000年，joshi这个词开始出现在女性杂志上，如otona-joshi(“成年女孩”)，30 dai joshi(“30岁左右的女孩”)和40 dai joshi(“40岁左右的女孩”)。这些术语不仅在杂志上，而且在电视上和日常谈话中都被广泛使用。虽然joshi指的是女性儿童和十几岁的女孩，但这个词偶尔也指30多岁、40多岁的女性，她们应该被视为成年人。乔希这个词意味着年轻和活力。这篇文章探讨了在过去的几十年里，30多岁和40多岁的女性形象是如何变化的，joshi已经成为一个被接受的词来指代她们。与其积极的形象相反，这个词也有不成熟的意思。要探究“成熟”这个概念在过去30年里发生了怎样的变化，最重要的是研究流行散文家的作品，以及她们年轻时经常阅读的女性杂志。这将进一步与日本女性杂志的简史联系起来，以说明女性如何回应现代化后强加给她们的成熟概念。
{"title":"Changes in the image of middle-aged women: A study of otona-joshi (‘adult girls’) in Japanese print media","authors":"Satoshi Ota","doi":"10.1386/eapc_00079_1","DOIUrl":"https://doi.org/10.1386/eapc_00079_1","url":null,"abstract":"Around the year 2000, the word joshi began to appear in women’s magazines, as in otona-joshi (‘adult girls’), 30 dai joshi (‘30-something girls’) and 40 dai joshi (‘40-something girls’). These terms have been commonly used not only in magazines but also on television and in everyday conversation. Though joshi implies female children and teenage girls, the term occasionally refers to women in their 30s and 40s who are supposed to be recognized as grown adults. The word joshi implies youth and vigour. This article examines how the image of women in their 30s and 40s has changed over the past decades and joshi has become an accepted word to refer to them. Contrary to its positive image, the word also connotes immaturity. Central to exploring how the notion of maturity has changed over the past 30 years are the writings of popular essayists and the women’s magazines they frequently read when they were young. This is further contextualized with a brief history of Japanese women’s magazines as to illustrate how women have responded to the notion of maturity imposed on them created after modernization.","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":"47050393","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 article outlines the Taiwanese government’s strategy of using cute and humorous messages in its official communication via social media during the initial phase of COVID-19. Subjected to Chinese influence campaigns on social media, the government devised playful memes to ‘inoculate’ the public against disinformation and rumours. While the images contained important information, what made them appealing, memorable and spreadable as memes was their self-deprecating humour and cute aesthetics. Adopting the memetic logic of replication, the communication strategy devised such benign, non-aggressive humour as part of a broad, holistic approach towards improving Taiwan’s democracy with technology-assisted, consensus-based decision-making. This strategy entailed wider-reaching social effects. Informed by an analysis of memes as a genre of cultural artefacts, the article traces how government-sponsored cute aesthetics resonated in society through being shared, imitated and repurposed. For example, government representatives such as ‘digital minister’ Audrey Tang and Minister of Health and Welfare Chen Shih-chung became memetic icons animated through fan art. In this realm of increasingly self-referential social intimacy, ordinary citizens and the government co-created not only immunity to misinformation but also an affective community of Taiwanese national proportions.
{"title":"Panmemic inoculation: How Taiwan is nerfing the pandemic with cute humour","authors":"Jacob F. Tischer","doi":"10.1386/eapc_00073_1","DOIUrl":"https://doi.org/10.1386/eapc_00073_1","url":null,"abstract":"The article outlines the Taiwanese government’s strategy of using cute and humorous messages in its official communication via social media during the initial phase of COVID-19. Subjected to Chinese influence campaigns on social media, the government devised playful memes to ‘inoculate’ the public against disinformation and rumours. While the images contained important information, what made them appealing, memorable and spreadable as memes was their self-deprecating humour and cute aesthetics. Adopting the memetic logic of replication, the communication strategy devised such benign, non-aggressive humour as part of a broad, holistic approach towards improving Taiwan’s democracy with technology-assisted, consensus-based decision-making. This strategy entailed wider-reaching social effects. Informed by an analysis of memes as a genre of cultural artefacts, the article traces how government-sponsored cute aesthetics resonated in society through being shared, imitated and repurposed. For example, government representatives such as ‘digital minister’ Audrey Tang and Minister of Health and Welfare Chen Shih-chung became memetic icons animated through fan art. In this realm of increasingly self-referential social intimacy, ordinary citizens and the government co-created not only immunity to misinformation but also an affective community of Taiwanese national proportions.","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":"47889148","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 1955, the HJJCC (Honolulu Japanese Junior Chamber of Commerce) invited the performers of an all-female Japanese theatre called the Takarazuka Revue to participate in the Annual Japanese American Beauty Queen Contest. The intention of the HJJCC was to present the performers, all women born and raised in Japan, in a way that showcased their Japanese oriental beauty. In this article I focus on this post-war Hawaiian tour and will consider how the female performers saw it as an opportunity to reject the rigid gender roles that were a persistent feature of the patriarchal system in Japan. Both the performers and the Japanese female fans of the Revue had hoped the tour would become a means of promoting broader perceptions of Japanese women’s identities. However, in reality, both the female performers and their fans continued to face societal restrictions and opposition to their efforts to move beyond established gender roles. By considering their vision of female agency, the resistance it met and the viewpoints expressed by the performers and their female fans, I argue that this post-war tour of Hawai’i enabled many Japanese women to reimagine and redefine their own identities as modern women living in post-war Japan.
{"title":"The Takarazuka Revue’s post-war tours of Hawai’i: Exploring Japanese female agency and the restrictions placed upon it","authors":"Toshiko Irie","doi":"10.1386/eapc_00078_1","DOIUrl":"https://doi.org/10.1386/eapc_00078_1","url":null,"abstract":"In 1955, the HJJCC (Honolulu Japanese Junior Chamber of Commerce) invited the performers of an all-female Japanese theatre called the Takarazuka Revue to participate in the Annual Japanese American Beauty Queen Contest. The intention of the HJJCC was to present the performers, all women born and raised in Japan, in a way that showcased their Japanese oriental beauty. In this article I focus on this post-war Hawaiian tour and will consider how the female performers saw it as an opportunity to reject the rigid gender roles that were a persistent feature of the patriarchal system in Japan. Both the performers and the Japanese female fans of the Revue had hoped the tour would become a means of promoting broader perceptions of Japanese women’s identities. However, in reality, both the female performers and their fans continued to face societal restrictions and opposition to their efforts to move beyond established gender roles. By considering their vision of female agency, the resistance it met and the viewpoints expressed by the performers and their female fans, I argue that this post-war tour of Hawai’i enabled many Japanese women to reimagine and redefine their own identities as modern women living in post-war Japan.","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":"43472788","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 issue of the East Asian Journal of Popular Culture (EAJPC) includes a thematic section, edited by Scott Sommers, consisting of four papers dealing with various cultural ramifications of a modern popular culture in middle-class Japan, particularly in relation to gender and consumerism. It further features articles analysing the role of humour in the Sinophone world: one (by Charles Lam and Genevieve Leung) on the emergence during the 1970s of a consciousness of distinctive Hong Kong identity through the prism of the television sketch comedy, the Hui Brothers Show and another (by Jacob Tischer) investigating the use of a humorous social media strategy by Taiwan’s government in its attempts to manage the COVID-19 pandemic. The issue concludes with a paper by Marketa Bajgerová Verly on the representation of female victims of the Sino-Japanese War in the museums of the PRC. The book reviews section features commentary on four recently published works that relate to themes discussed in the research articles.
{"title":"General editorial: EAJPC 8.2","authors":"E. Vickers, A. Heylen, K. Taylor-Jones","doi":"10.1386/eapc_00072_2","DOIUrl":"https://doi.org/10.1386/eapc_00072_2","url":null,"abstract":"This issue of the East Asian Journal of Popular Culture (EAJPC) includes a thematic section, edited by Scott Sommers, consisting of four papers dealing with various cultural ramifications of a modern popular culture in middle-class Japan, particularly in relation to gender and consumerism. It further features articles analysing the role of humour in the Sinophone world: one (by Charles Lam and Genevieve Leung) on the emergence during the 1970s of a consciousness of distinctive Hong Kong identity through the prism of the television sketch comedy, the Hui Brothers Show and another (by Jacob Tischer) investigating the use of a humorous social media strategy by Taiwan’s government in its attempts to manage the COVID-19 pandemic. The issue concludes with a paper by Marketa Bajgerová Verly on the representation of female victims of the Sino-Japanese War in the museums of the PRC. The book reviews section features commentary on four recently published works that relate to themes discussed in the research articles.","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":"44294176","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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