Abstract:Regardless of the impending wartime conditions, Japanese women devoted themselves to support the nation's war effort. They responded to the excessive demands made by the state to achieve spiritual and material mobilization for the war. In interwar and wartime Japan, the government-sponsored women's patriotic organizations were the main platforms for women to demonstrate their patriotism and support for the nation.Although the scholarship of recent decades has examined women's roles in protecting the home front, few studies have addressed the relationship between the development of women's organizations and the transformation of patriotic motherhood as depicted in school textbooks. I examine three women's organizations—the Patriotic Women's Association (Aikoku fujin kai), the Greater Japan National Defense Women's Association (Dai Nihon kokubō fujin kai), and the Greater Japan Women's Association (Dai Nihon kokubō fujin kai)—to understand the state's expectations on women, as promoted through images of patriotic motherhood in school textbooks, and to explore how women developed their roles in home defense, defined ideal motherhood, and transformed themselves into patriotic mothers.While the state utilized women's organizations to mobilize women to support the home front, these organizations actively developed the new images of patriotic motherhood that sometimes differed from those promoted by the state. Moreover, participation in wartime women's organizations brought Japanese women a certain degree of liberation in their social lives. Nevertheless, the ideal womanhood these organizations developed and scrupulously dedicated to the home front resulted in reinforcing the state's image of self-sacrificial patriotic motherhood espoused in prewar school textbooks.
{"title":"Making Patriotic Mothers: Images of Motherhood and the Role of Government-Sponsored Women's Organizations in Japan's Home Front / 愛国の母をつくる: 銃後の護りにおける母性像と官製婦人団体の役割","authors":"Ryoko Okamura","doi":"10.1353/jwj.2019.0006","DOIUrl":"https://doi.org/10.1353/jwj.2019.0006","url":null,"abstract":"Abstract:Regardless of the impending wartime conditions, Japanese women devoted themselves to support the nation's war effort. They responded to the excessive demands made by the state to achieve spiritual and material mobilization for the war. In interwar and wartime Japan, the government-sponsored women's patriotic organizations were the main platforms for women to demonstrate their patriotism and support for the nation.Although the scholarship of recent decades has examined women's roles in protecting the home front, few studies have addressed the relationship between the development of women's organizations and the transformation of patriotic motherhood as depicted in school textbooks. I examine three women's organizations—the Patriotic Women's Association (Aikoku fujin kai), the Greater Japan National Defense Women's Association (Dai Nihon kokubō fujin kai), and the Greater Japan Women's Association (Dai Nihon kokubō fujin kai)—to understand the state's expectations on women, as promoted through images of patriotic motherhood in school textbooks, and to explore how women developed their roles in home defense, defined ideal motherhood, and transformed themselves into patriotic mothers.While the state utilized women's organizations to mobilize women to support the home front, these organizations actively developed the new images of patriotic motherhood that sometimes differed from those promoted by the state. Moreover, participation in wartime women's organizations brought Japanese women a certain degree of liberation in their social lives. Nevertheless, the ideal womanhood these organizations developed and scrupulously dedicated to the home front resulted in reinforcing the state's image of self-sacrificial patriotic motherhood espoused in prewar school textbooks.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"34 1","pages":"55 - 79"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81107595","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}
Abstract:A quantitative approach to the Kagerō Diary (Kagerō nikki, 974) reveals a proud, competitive, creative, and compassionate woman whose ambition to gain status and prestige was ultimately thwarted by relative infertility because, in her polygamous society, children were the avenue to a woman's success. The author has often been disparaged as jealous, hysterical, neurotic, and masochistic, but these are exaggerations that seem to be the result of gendered stereotypes. She is only outspokenly resentful of her husband's relationships with women who threatened her dignity and status; she often laments her husband's negligence, but she also shares many warm moments with him and is more than a wife. She has strong bonds with her biological family members, is recognized as a talented poet, corresponds with a variety of her peers, and undertakes numerous pilgrimages. She retains her husband's interest for nearly twenty years, and then turns her attention to the needs of her adult children, a biological son and an adopted daughter. It is her son's achievements, not her husband's affection, that elicits her strongest expressions of joy. A data-driven analysis of the Kagerō Diary, combined with recognition of the importance of status and prestige among the aristocracy in Heian Japan, refutes sexist characterizations and allows us to see Michitsuna's mother as an impressive figure.
{"title":"Redeeming Michitsuna's Mother: A Feminist Reading of the Kagerō Diary / 道綱母の名誉救済：蜻蛉日記のフェミニスト的解釈","authors":"","doi":"10.1353/jwj.2019.0005","DOIUrl":"https://doi.org/10.1353/jwj.2019.0005","url":null,"abstract":"Abstract:A quantitative approach to the Kagerō Diary (Kagerō nikki, 974) reveals a proud, competitive, creative, and compassionate woman whose ambition to gain status and prestige was ultimately thwarted by relative infertility because, in her polygamous society, children were the avenue to a woman's success. The author has often been disparaged as jealous, hysterical, neurotic, and masochistic, but these are exaggerations that seem to be the result of gendered stereotypes. She is only outspokenly resentful of her husband's relationships with women who threatened her dignity and status; she often laments her husband's negligence, but she also shares many warm moments with him and is more than a wife. She has strong bonds with her biological family members, is recognized as a talented poet, corresponds with a variety of her peers, and undertakes numerous pilgrimages. She retains her husband's interest for nearly twenty years, and then turns her attention to the needs of her adult children, a biological son and an adopted daughter. It is her son's achievements, not her husband's affection, that elicits her strongest expressions of joy. A data-driven analysis of the Kagerō Diary, combined with recognition of the importance of status and prestige among the aristocracy in Heian Japan, refutes sexist characterizations and allows us to see Michitsuna's mother as an impressive figure.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"1 1","pages":"33 - 54"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79912676","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}
Yoshiko Nakano, Malia McAndrew, Tomoko Seto, Mina Qiao, Roselee Bundy, Margaret H. Childs, Ryoko Okamura
Abstract:This article explores Japan's entry into international commercial aviation in the wake of the Allied occupation with particular emphasis on its implications for female flight attendants' job duties and training. As Japanese aviation shifted from being a tool of empire for the military to a luxurious means of transportation for business, the newly established Japan Airlines (JAL) faced the challenge of fashioning an attractive brand for the American market. In 1953, in preparation for the launch of its first transpacific route from Tokyo to San Francisco, American advertising executives recommended that JAL design its corporate image around its "stewardesses" by dressing them in kimonos and foregrounding their personalized service. This rebranding strategy was intended to deflect perceptions of Japanese aviation away from the kamikaze and aggressive masculinity toward a performance of oriental femininity. This approach, however, ran contrary to the Japanese perception of "stewardess" as a modern, cutting-edge job for women. In order to compete with U.S. carriers, JAL's management saw the need to train its "stewardesses" to meet international standards of inflight service and engaged a "stewardess instructor" from United Airlines for this purpose. I argue that JAL "stewardesses" stood at the intersection of Japan's aspirations to modernity and the American imagination of the Orient, and that they learned to enact both, thereby assuming simultaneously a gendered yet paradoxically "modern" role in Japanese postwar aviation.
{"title":"Japan's Postwar International Stewardesses: Embodying Modernity and Exoticism in the Air / 戦後日本の国際線「スチュワーデス」: 時代の先端でエキゾチックという 一人二役の舞台裏","authors":"Yoshiko Nakano, Malia McAndrew, Tomoko Seto, Mina Qiao, Roselee Bundy, Margaret H. Childs, Ryoko Okamura","doi":"10.1353/jwj.2019.0000","DOIUrl":"https://doi.org/10.1353/jwj.2019.0000","url":null,"abstract":"Abstract:This article explores Japan's entry into international commercial aviation in the wake of the Allied occupation with particular emphasis on its implications for female flight attendants' job duties and training. As Japanese aviation shifted from being a tool of empire for the military to a luxurious means of transportation for business, the newly established Japan Airlines (JAL) faced the challenge of fashioning an attractive brand for the American market. In 1953, in preparation for the launch of its first transpacific route from Tokyo to San Francisco, American advertising executives recommended that JAL design its corporate image around its \"stewardesses\" by dressing them in kimonos and foregrounding their personalized service. This rebranding strategy was intended to deflect perceptions of Japanese aviation away from the kamikaze and aggressive masculinity toward a performance of oriental femininity. This approach, however, ran contrary to the Japanese perception of \"stewardess\" as a modern, cutting-edge job for women. In order to compete with U.S. carriers, JAL's management saw the need to train its \"stewardesses\" to meet international standards of inflight service and engaged a \"stewardess instructor\" from United Airlines for this purpose. I argue that JAL \"stewardesses\" stood at the intersection of Japan's aspirations to modernity and the American imagination of the Orient, and that they learned to enact both, thereby assuming simultaneously a gendered yet paradoxically \"modern\" role in Japanese postwar aviation.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"90 1","pages":"107 - 108 - 127 - 128 - 152 - 153 - 173 - 3 - 32 - 33 - 54 - 55 - 79 - 80"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84367918","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}
Abstract:The representations of bodies and fantastical spaces are two outstanding characteristics of Ogawa Yōko's writing and should be examined in relation to each other. In this article, I define the body and the space in the narrative as "liminal." In Ogawa's works, entering liminal spaces usually implies changes, instant or forthcoming, visible or invisible, regarding the characters' physicality. Parts of the characters' bodies or certain bodily functions vanish. In return, the liminal bodies are rewarded with insubstantial endowments, such as love, companionship, inner peace, or freedom. Examining Hotel Iris (Hoteru Airisu, 1996) as a case study, this article provides a reading of Ogawa based on the representations of liminal bodies and liminal space. Hotel Iris, for its astonishing and painstaking depictions of sadomasochism, remains somewhat exceptional in Ogawa's works. The seemingly carnal feast in the narrative is essentially the protagonist's escape from the physical. Sexual acts, as well as the liminal spatial setting, serve as a form of salvation by freeing the spirit from the body.
{"title":"Escaping the Physical: Liminal Body and Liminal Space in Ogawa Yōko's Hotel Iris / 小川洋子の『ホテル・アイリス』における異界と身体","authors":"Mina Qiao","doi":"10.1353/jwj.2019.0003","DOIUrl":"https://doi.org/10.1353/jwj.2019.0003","url":null,"abstract":"Abstract:The representations of bodies and fantastical spaces are two outstanding characteristics of Ogawa Yōko's writing and should be examined in relation to each other. In this article, I define the body and the space in the narrative as \"liminal.\" In Ogawa's works, entering liminal spaces usually implies changes, instant or forthcoming, visible or invisible, regarding the characters' physicality. Parts of the characters' bodies or certain bodily functions vanish. In return, the liminal bodies are rewarded with insubstantial endowments, such as love, companionship, inner peace, or freedom. Examining Hotel Iris (Hoteru Airisu, 1996) as a case study, this article provides a reading of Ogawa based on the representations of liminal bodies and liminal space. Hotel Iris, for its astonishing and painstaking depictions of sadomasochism, remains somewhat exceptional in Ogawa's works. The seemingly carnal feast in the narrative is essentially the protagonist's escape from the physical. Sexual acts, as well as the liminal spatial setting, serve as a form of salvation by freeing the spirit from the body.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"42 1","pages":"153 - 173"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75871120","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}
Abstract:This article explores Inoue Hisashi's 1993 play, Manzanar, My Town (Manzana, waga machi), as both his critique of the Japanese imperialist past and his exploration of women's solidarity in the context of Japanese American internment during World War II. Unlike many literary works depicting internment, the play mainly targets Japanese audiences in the 1990s. In light of the Reagan administration's official apology in 1988 for internment, the play, at a glance, addresses women's solidarity against the injustice of internment. However, by depicting the simultaneous singing of two types of Japanese popular songs symbolizing Japanese imperialism—a shōka song authorized by the state to nurture schoolchildren's national pride and naniwa-bushi chanting that promoted patriotism for adult audiences—Inoue also situates internment as a site where the female Japanese American characters uncritically celebrate their homeland Japan while revealing their ignorance of how other Asians suffered from Japanese imperialism. The latter revelation emerges when one of these female internees turns out to be a Chinese American "spy" whose father was killed by the Japanese authorities in China. The collective singing of the Japanese songs leads them to mobilize their vulnerability derived from their Japanese ancestry, the sole reason for them to face persecution, and to eventually protest against both American and Japanese imperialism. The harmonized voices of the Japanese American women illuminate how Inoue recreates the story of internment to challenge the Japanese public of his time on selective forgetting of empire, while addressing the importance of women's solidarity against injustice.
摘要:本文探讨井上久志1993年的剧作《Manzana, My Town (Manzana, waga machi)》，作为他对日本帝国主义历史的批判，以及他在二战日裔美国人被拘留的背景下对女性团结的探索。与许多描写拘留的文学作品不同，该剧主要针对90年代的日本观众。鉴于里根政府在1988年对拘留事件的官方道歉，这部剧，乍一看，讲述了女性团结起来反对拘留的不公正。然而，通过描绘同时演唱象征日本帝国主义的两种日本流行歌曲——国家授权的一首歌shōka，以培养学生的民族自豪感，以及向成年观众宣传爱国主义的“naniawa -bushi”——井上也将拘留场所定位为一个场所，在这里，日裔美国女性角色不加批判地庆祝自己的祖国日本，同时暴露出她们对其他亚洲人如何遭受日本帝国主义的无知。当其中一名女性被拘留者被证明是一名华裔美国“间谍”，她的父亲被日本当局在中国杀害时，后一件事才浮出水面。日本歌曲的集体演唱使他们调动了日本血统的脆弱，这是他们面临迫害的唯一原因，并最终抗议美国和日本帝国主义。日裔美国女性和谐的声音说明了井上如何重新创造了被拘留的故事，以挑战他那个时代的日本公众对帝国的选择性遗忘，同时强调了女性团结起来反对不公正的重要性。
{"title":"Shōka and Naniwa-bushi in Inoue Hisashi's Manzanar, My Town (1993): Violence, Vulnerability, and Women's Solidarity / 井上ひさし『マンザナ、わが町』における唱歌と浪花節：暴力、脆弱性、女性の連帯","authors":"Tomoko Seto","doi":"10.1353/jwj.2019.0002","DOIUrl":"https://doi.org/10.1353/jwj.2019.0002","url":null,"abstract":"Abstract:This article explores Inoue Hisashi's 1993 play, Manzanar, My Town (Manzana, waga machi), as both his critique of the Japanese imperialist past and his exploration of women's solidarity in the context of Japanese American internment during World War II. Unlike many literary works depicting internment, the play mainly targets Japanese audiences in the 1990s. In light of the Reagan administration's official apology in 1988 for internment, the play, at a glance, addresses women's solidarity against the injustice of internment. However, by depicting the simultaneous singing of two types of Japanese popular songs symbolizing Japanese imperialism—a shōka song authorized by the state to nurture schoolchildren's national pride and naniwa-bushi chanting that promoted patriotism for adult audiences—Inoue also situates internment as a site where the female Japanese American characters uncritically celebrate their homeland Japan while revealing their ignorance of how other Asians suffered from Japanese imperialism. The latter revelation emerges when one of these female internees turns out to be a Chinese American \"spy\" whose father was killed by the Japanese authorities in China. The collective singing of the Japanese songs leads them to mobilize their vulnerability derived from their Japanese ancestry, the sole reason for them to face persecution, and to eventually protest against both American and Japanese imperialism. The harmonized voices of the Japanese American women illuminate how Inoue recreates the story of internment to challenge the Japanese public of his time on selective forgetting of empire, while addressing the importance of women's solidarity against injustice.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"7 1","pages":"128 - 152"},"PeriodicalIF":0.0,"publicationDate":"2020-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84269147","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}
Abstract:This article examine images of sweets—cakes, cookies, and parfaits—in texts by artists Hagio Moto (b. 1949) and Yoshinaga Fumi (b. 1971) in order to trace an unremarkable history of shōjo manga. My analysis suggests that feminist scholars of Japanese girls' culture have largely avoided emphasizing conventional femininities circulated through many shōjo manga; instead, they focus on a narrative concerning the subversive qualities of the genre due to its rejection of gender and sexual norms. Describing representations of sweetness in terms of desire and disgust, I reflect upon possibilities for feminist perspectives that simultaneously allow for both pleasure and critique with the everyday consumption of shōjo manga.
{"title":"The Desire and Disgust of Sweets: Consuming Femininities through Shōjo Manga","authors":"G. Ting","doi":"10.1353/JWJ.2018.0010","DOIUrl":"https://doi.org/10.1353/JWJ.2018.0010","url":null,"abstract":"Abstract:This article examine images of sweets—cakes, cookies, and parfaits—in texts by artists Hagio Moto (b. 1949) and Yoshinaga Fumi (b. 1971) in order to trace an unremarkable history of shōjo manga. My analysis suggests that feminist scholars of Japanese girls' culture have largely avoided emphasizing conventional femininities circulated through many shōjo manga; instead, they focus on a narrative concerning the subversive qualities of the genre due to its rejection of gender and sexual norms. Describing representations of sweetness in terms of desire and disgust, I reflect upon possibilities for feminist perspectives that simultaneously allow for both pleasure and critique with the everyday consumption of shōjo manga.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"67 1","pages":"52 - 74"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90428565","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}
Fusami Ogi, L. Fraser, Isabelle Bettridge, Liisa Kuru
Abstract:This article outlines a history of the shōjo manga aesthetic, focussing on feminist aspects of ground-breaking manga of the 1970s "Golden Age." Figures such as Western princesses and blonde girls, often depicted in shōjo manga, represent not only a yearning for a romanticized West but also the absence of "men" and Japan, which created a liberating space for girl readers. Works such as Takemiya Keiko's The Song of the Wind and the Trees (Kaze to ki no uta) depicted beautiful boys in foreign settings, absenting the figure of the girl herself from this girl-centred genre. Such innovations further challenged social and genre norms and offered readers the opportunity to explore ideas of gender. The article argues that these elements of shōjo manga contribute to its appeal for readers outside of Japan, noting that Japanese shōjo manga (girls' comics) styles are being adopted in graphic novels and comics in the United States and the United Kingdom.
摘要:本文概述了shōjo漫画美学的历史，重点关注20世纪70年代“黄金时代”开创性漫画的女权主义方面。shōjo漫画中经常出现的西方公主和金发女郎等形象，不仅代表了对浪漫主义西方的向往，也代表了对“男人”和日本的缺席，这为女性读者创造了一个解放的空间。像竹宫惠子的《风与树之歌》(Kaze to ki no uta)这样的作品描绘了在外国背景下的美丽男孩，在这种以女孩为中心的流派中，没有女孩自己的形象。这些创新进一步挑战了社会和类型规范，并为读者提供了探索性别观念的机会。文章认为shōjo漫画的这些元素有助于吸引日本以外的读者，并指出日本的shōjo漫画(少女漫画)风格正在被美国和英国的图画小说和漫画所采用。
{"title":"Beyond Borders: Shōjo Manga and Gender","authors":"Fusami Ogi, L. Fraser, Isabelle Bettridge, Liisa Kuru","doi":"10.1353/JWJ.2018.0011","DOIUrl":"https://doi.org/10.1353/JWJ.2018.0011","url":null,"abstract":"Abstract:This article outlines a history of the shōjo manga aesthetic, focussing on feminist aspects of ground-breaking manga of the 1970s \"Golden Age.\" Figures such as Western princesses and blonde girls, often depicted in shōjo manga, represent not only a yearning for a romanticized West but also the absence of \"men\" and Japan, which created a liberating space for girl readers. Works such as Takemiya Keiko's The Song of the Wind and the Trees (Kaze to ki no uta) depicted beautiful boys in foreign settings, absenting the figure of the girl herself from this girl-centred genre. Such innovations further challenged social and genre norms and offered readers the opportunity to explore ideas of gender. The article argues that these elements of shōjo manga contribute to its appeal for readers outside of Japan, noting that Japanese shōjo manga (girls' comics) styles are being adopted in graphic novels and comics in the United States and the United Kingdom.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"563 1","pages":"75 - 97"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77765416","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 special issue evolved from a panel on “Youth, Gender, and Power in Japanese Popular Culture” at the Society for Cinema and Media Studies Annual Conference in 2017. While the original panel focused closely on girls’ culture in Japan, engaging particularly with media representations of the “shōjo” (girl), our commitment to interrogating the networks of power around female-gendered youth in Japanese popular culture led us to wider considerations of the category of “youth.” The articles in this issue present new ways of reading a variety of images of girls and young women in Japanese popular culture, from 1940s films and 1950s pulp magazines to twenty-first-century shōjo manga, paying particular attention to the issue of representation and its often-conflicted relationship with lived experience. Examining the interrelation of youth and gender is a timely concern. In Japan, young people are raising their voices with increasing regularity and persuasive force on issues as varied as nuclear power, climate change, and sexual harassment. “Youthquake,” the term coined by Diana Vreeland in 1965 to describe the influence of youth on popular culture, recently returned to popular attention as the Oxford English Dictionary’s “Word of the Year” for 2017, suggesting that widening youth influence on popular discourse is a global
{"title":"Introduction: Representing Youth and Gender in Japanese Popular Culture","authors":"J. Coates","doi":"10.1353/JWJ.2018.0007","DOIUrl":"https://doi.org/10.1353/JWJ.2018.0007","url":null,"abstract":"This special issue evolved from a panel on “Youth, Gender, and Power in Japanese Popular Culture” at the Society for Cinema and Media Studies Annual Conference in 2017. While the original panel focused closely on girls’ culture in Japan, engaging particularly with media representations of the “shōjo” (girl), our commitment to interrogating the networks of power around female-gendered youth in Japanese popular culture led us to wider considerations of the category of “youth.” The articles in this issue present new ways of reading a variety of images of girls and young women in Japanese popular culture, from 1940s films and 1950s pulp magazines to twenty-first-century shōjo manga, paying particular attention to the issue of representation and its often-conflicted relationship with lived experience. Examining the interrelation of youth and gender is a timely concern. In Japan, young people are raising their voices with increasing regularity and persuasive force on issues as varied as nuclear power, climate change, and sexual harassment. “Youthquake,” the term coined by Diana Vreeland in 1965 to describe the influence of youth on popular culture, recently returned to popular attention as the Oxford English Dictionary’s “Word of the Year” for 2017, suggesting that widening youth influence on popular discourse is a global","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"4 1","pages":"3 - 5"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87628161","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}
Abstract:During the Allied Occupation of Japan (1945-1952), female audiences, particularly children and teenaged girls, became the market for censored cinema content designed to support the democratic re-education of the Japanese populace. Early postwar cinema characters and narratives modeled the new rights and powers becoming available for women in Japan in the years after the 1947 Constitution. An ethnographic approach gives a conflicted picture of the cinema audience who viewed these narratives, demonstrating that an easy inference of mass female viewership from female-oriented film content, marketing, and censorship is not supported by the memories of female viewers. To better understand the complicated relation of young female audiences to Occupation-era cinema and its censored content, this article analyzes the memories of a number of female viewers who engaged with the cinema and its stories between 1945 and 1952.
{"title":"Rethinking the Young Female Cinema Audience: Postwar Cinema-Going in Kansai, 1945-1952","authors":"J. Coates","doi":"10.1353/JWJ.2018.0008","DOIUrl":"https://doi.org/10.1353/JWJ.2018.0008","url":null,"abstract":"Abstract:During the Allied Occupation of Japan (1945-1952), female audiences, particularly children and teenaged girls, became the market for censored cinema content designed to support the democratic re-education of the Japanese populace. Early postwar cinema characters and narratives modeled the new rights and powers becoming available for women in Japan in the years after the 1947 Constitution. An ethnographic approach gives a conflicted picture of the cinema audience who viewed these narratives, demonstrating that an easy inference of mass female viewership from female-oriented film content, marketing, and censorship is not supported by the memories of female viewers. To better understand the complicated relation of young female audiences to Occupation-era cinema and its censored content, this article analyzes the memories of a number of female viewers who engaged with the cinema and its stories between 1945 and 1952.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"30 1","pages":"28 - 6"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84092030","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}
Abstract:This article examines the figure of the panpan, or streetwalker, as a compelling example of a young working female population, concomitant to the radical transformation of sexual mores, familial relations, and consumption in Japan during the Allied Occupation. It compares the heterogeneous lived experiences of panpan with their representations in cinema, as well as in literature, pulp publications known as kasutori, and women's journals to explore how this problematic social figure was transformed into a marketable icon of popular culture. I agrue that the trope of panpan became an ambivalent signifier of youth, nation, and female sexuality that appealed to different audiences and was used by different groups to advance their own political agendas. The potential eroticism and political criticism of so-called "panpan films" lay primarily in the audiences' ability to decode metaphors, absences, and intertextual references.
{"title":"Marketing the Panpan in Japanese Popular Culture: Youth, Sexuality, and Power","authors":"Irene González-López","doi":"10.1353/JWJ.2018.0009","DOIUrl":"https://doi.org/10.1353/JWJ.2018.0009","url":null,"abstract":"Abstract:This article examines the figure of the panpan, or streetwalker, as a compelling example of a young working female population, concomitant to the radical transformation of sexual mores, familial relations, and consumption in Japan during the Allied Occupation. It compares the heterogeneous lived experiences of panpan with their representations in cinema, as well as in literature, pulp publications known as kasutori, and women's journals to explore how this problematic social figure was transformed into a marketable icon of popular culture. I agrue that the trope of panpan became an ambivalent signifier of youth, nation, and female sexuality that appealed to different audiences and was used by different groups to advance their own political agendas. The potential eroticism and political criticism of so-called \"panpan films\" lay primarily in the audiences' ability to decode metaphors, absences, and intertextual references.","PeriodicalId":88338,"journal":{"name":"U.S.-Japan women's journal. English supplement = Nichi-Bei josei janaru. English supplement","volume":"72 1","pages":"29 - 51"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78034469","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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