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Fanning the Flames: Fandoms and Consumer Culture in Contemporary Japan
FANNING THE FLAMES Fans and Consumer Culture in Contemporary Japan Edited by William W. Kelly Fanning the Flames SUNY series in Japan in Transition Jerry Eades and Takeo Funabiki, editors Fanning the Flames Fans and Consumer Culture in Contemporary Japan EDITED BY WILLIAM W. K ELLY STATE UNIVERSITY OF NEW YORK PRESS Published by State University of New York Press, Albany © 2004 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Kelli Williams Marketing by Michael Campochiaro Library of Congress Cataloging-in-Publication Data Fanning the f lames : fans and consumer culture in contemporary Japan / edited by William W. Kelly. p. cm. — (SUNY series in Japan in transition) Includes bibliographical references and index. ISBN 0-7914-6031-2 (alk. paper) — ISBN 0-7914-6032-0 (pbk. : alk.paper) 1. Popular culture—Japan—History—20th century. I. Kelly, William W. II. Series. DS822.5b. F36 2004 306'.0952'09049—dc22 2004041740 10987654321 Contents List of Illustrations vii Acknowledgments ix Introduction: Locating the Fans 1 William W. Kelly 1 B-Boys and B-Girls: Rap Fandom and Consumer Culture in Japan 17 Ian Condry 2 Letters from the Heart: Negotiating Fan–Star Relationships in Japanese Popular Music 41 Christine R. -
The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney Jennifer M
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2009 The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney Jennifer M. Stockins University of Wollongong Recommended Citation Stockins, Jennifer M., The popular image of Japanese femininity inside the anime and manga culture of Japan and Sydney, Master of Arts - Research thesis, University of Wollongong. School of Art and Design, University of Wollongong, 2009. http://ro.uow.edu.au/ theses/3164 Research Online is the open access institutional repository for the University of Wollongong. For further information contact Manager Repository Services: [email protected]. The Popular Image of Japanese Femininity Inside the Anime and Manga Culture of Japan and Sydney A thesis submitted in partial fulfillment of the requirements for the award of the degree Master of Arts - Research (MA-Res) UNIVERSITY OF WOLLONGONG Jennifer M. Stockins, BCA (Hons) Faculty of Creative Arts, School of Art and Design 2009 ii Stockins Statement of Declaration I certify that this thesis has not been submitted for a degree to any other university or institution and, to the best of my knowledge and belief, contains no material previously published or written by any other person, except where due reference has been made in the text. Jennifer M. Stockins iii Stockins Abstract Manga (Japanese comic books), Anime (Japanese animation) and Superflat (the contemporary art by movement created Takashi Murakami) all share a common ancestry in the woodblock prints of the Edo period, which were once mass-produced as a form of entertainment. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
“PRESENCE” of JAPAN in KOREA's POPULAR MUSIC CULTURE by Eun-Young Ju
TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE by Eun-Young Jung M.A. in Ethnomusicology, Arizona State University, 2001 Submitted to the Graduate Faculty of School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Eun-Young Jung It was defended on April 30, 2007 and approved by Richard Smethurst, Professor, Department of History Mathew Rosenblum, Professor, Department of Music Andrew Weintraub, Associate Professor, Department of Music Dissertation Advisor: Bell Yung, Professor, Department of Music ii Copyright © by Eun-Young Jung 2007 iii TRANSNATIONAL CULTURAL TRAFFIC IN NORTHEAST ASIA: THE “PRESENCE” OF JAPAN IN KOREA’S POPULAR MUSIC CULTURE Eun-Young Jung, PhD University of Pittsburgh, 2007 Korea’s nationalistic antagonism towards Japan and “things Japanese” has mostly been a response to the colonial annexation by Japan (1910-1945). Despite their close economic relationship since 1965, their conflicting historic and political relationships and deep-seated prejudice against each other have continued. The Korean government’s official ban on the direct import of Japanese cultural products existed until 1997, but various kinds of Japanese cultural products, including popular music, found their way into Korea through various legal and illegal routes and influenced contemporary Korean popular culture. Since 1998, under Korea’s Open- Door Policy, legally available Japanese popular cultural products became widely consumed, especially among young Koreans fascinated by Japan’s quintessentially postmodern popular culture, despite lingering resentments towards Japan. -
Virtual Celebrities and Consumers: a Blended Reality
Virtual Celebrities and Consumers: A Blended Reality How virtual celebrities are consumed in the East and West Author: Thuy Duong Hoang (115821) Yidan Su (115392) Supervisor: Claus Springborg Master’s Thesis, MSocSc Management of Creative Business Processes Copenhagen Business School Date of submission: May 15, 2019 Pages: 117 (31.960 words, 202.544 characters) excl. front page, bibliography and appendix Abstract The goal of this study is to research how virtual celebrities are consumed in the East and West. The digital revolution has led to a surge in circulation of information. This has contributed to the transformation of human attention from an innate information gathering tool to a profitable resource, paving the way for the economy of attention. Therefore, it is significant for marketers and companies to understand how to attract attention. As celebrities enjoy large amounts of attention, they have been widely used in endorsement campaigns. Yet, their human flaws can still lead to scandals. Therefore, we argue that virtual celebrities can be used as an alternative. They are a new type of celebrity, who are able to perform ‘real life’ activities and earn money. Examples from the East include the virtual singer Hatsune Miku and the virtual YouTuber Kizuna AI, while the West is represented by the virtual band Gorillaz, or virtual model Lil Miquela, among others. A descriptive approach is used to describe the preferences of Eastern and Western consumers in context of virtual celebrities. Our research philosophy consists of objectivism and positivism. Applying a deductive research strategy, we draw hypotheses from literature, which will be tested using quantitative methods. -
New Ways of Being in the Fiction of Yoshimoto Banana
SINGLE FRAME HEROICS: NEW WAYS OF BEING IN THE FICTION OF YOSHIMOTO BANANA Ph. D Thesis Martin Ramsay Swinburne University of Technology 2009 CONTENTS Legend............................................................................................................. 5 Disclaimer…………………………………………………………………... 6 Acknowledgements…………………………………………………………. 7 Abstract ….…………………………………………………………………. 8 Introduction: A Literature of ‘Self-Help’………………………………… 9 Yoshimoto’s postmodern style…...………………………………………….. 11 Early success and a sense of impasse………………………………………... 15 A trans-cultural writer……………………………………………………….. 17 Rescuing literature from irrelevance………………………………………… 21 Chapter One: Women and Gender Roles in Contemporary Japanese Society………………………………………………………………………. 27 An historical overview ………………………………………….…………... 27 Nation building and changing ‘ideals of femininity’………………………... 30 The rise of the Modan Ga-ru (Modern Girl)………………………………… 32 The Post-War Experience ……………………………………….………….. 37 The emergence of the ‘parasite single’……………………………………… 38 Women’s magazines and changing ‘ideals of femininity’…………………... 41 The Women’s Liberation movement……………………………….………... 44 Fear of the young: The politics of falling birth rates……..………………….. 47 Chapter Two: Yoshimoto Banana and Contemporary Japanese Literature…....…………………………………………………………….. 53 Japanese literature, women and modernity …………………………………. 54 The problem with popular culture …………………………….…………….. 62 2 Sh ôjo culture: the ‘baby-doll face of feminism’ in Japan……..……………. 70 A global literature and a shared -
Ebook Download Hatsune Miku Graphics: Character Collection CV01
HATSUNE MIKU GRAPHICS: CHARACTER COLLECTION CV01 - HATSUNE MIKU EDITION PDF, EPUB, EBOOK Comptiq | 96 pages | 10 Sep 2013 | Udon Entertainment Corp | 9781926778747 | English | Richmond Hill, United States Hatsune Miku Graphics: Character Collection CV01 - Hatsune Miku Edition PDF Book This book is not yet featured on Listopia. Opens image gallery Image not available Photos not available for this variation. Join us on Discord! See other items More See all. Please contact us if you have any questions about a comment or the Guidelines. Postage cost can't be calculated. Write information unrelated to the product. Subject to credit approval. How are ratings calculated? The price is write for it. Sophia McClellan rated it it was amazing Aug 17, Postcode: Please enter a valid postcode. Click the button below to let us know! Get the item you ordered or get your money back. This item will be shipped through the Global Shipping Program and includes international tracking. Buy only this item Close this window. Welcome back. Other editions. Brand new: Lowest price The lowest-priced brand-new, unused, unopened, undamaged item in its original packaging where packaging is applicable. Any international shipping and import charges are paid in part to Pitney Bowes Inc. E Official Guide. Cancel Delete. Please provide reason for rating. Report item - opens in a new window or tab. Loved the art so much. Condition is Used. Jovanca Anete rated it it was amazing Dec 11, Learn More - opens in a new window or tab. No ratings or reviews yet No ratings or reviews yet. Learn More - opens in a new window or tab International shipping and import charges paid to Pitney Bowes Inc. -
AKB48 and the Idol Machine
AKB48 and the Idol Machine When entering Akihibara, Tokyo's electronics district more widely known as “the center of Japan's otaku culture”, one is almost immediately greeted by the faces of current AKB48 members. The music group, one of the most popular in Japan, was founded in 2006 and consists of around 140 rotating members-- all young women from their teens to early-mid 20s. Plastered upon the side of a building designated for their daily performances, the young women tower above the street, smiling coyly at the shoppers below. Akihibara is the group's headquarters, and it is hard to walk anywhere in the area without seeing reference to them. Their faces are plastered all over merchandise stalls, one can buy photobooks, keychains or mugs adorned with their faces. Of the groups 39 total singles, 26 have hit number one on Japan's “Billboard Hot 100” Charti. (For comparison, the Beatles had 20 number one singles on Billboard over their ten year careerii). Though not without their share of criticisms and controversies, the group is in many ways the poster child for the greater “idol” phenomena and, indeed, much of the Japanese approach to merchandising and popular culture. Music idols are a large component of Japanese music culture. The phenomena itself dates back to the 1960s, while the current diversified media technique was pioneered by Johnny Kitagawa in the early 1990s. The concept is simple: beautiful young boys/girls are set up in groups by a label and perform. They sing, dance, appear on talk shows and ads, and are more or less marketed to be idolized by other young people who aspire to be and/or date them. -
Beauty Is in the Eye of the “Produser”: Japan's Virtual Idol Hatsune Miku from Software, to Network, to Stage
BEAUTY IS IN THE EYE OF THE “PRODUSER”: JAPAN'S VIRTUAL IDOL HATSUNE MIKU FROM SOFTWARE, TO NETWORK, Intermittence + Interference POST-SCREEN: TO STAGE ANA MATILDE SOUSA ANA MATILDE SOUSA 117 INTRODUCTION The “virtual idol” dream is not new, but Hatsune Miku — a cybercelebrity origi- nating from Japan who is steadily becoming a worldwide phenomenon — con- stitutes a paradigm shift in this lineage initiated in 1958 by the novelty group of anthropomorphic squirrels Alvin and the Chipmunks. Since then many have followed, from The Archies to Gorillaz and 2.0Pac. In Japan, HoriPro’s “digital kid”, Date Kyoko, pioneered the cyber frontier with her hit single “Love Commu- nication” in 1996 (Wolff, n.d.). While in 2011, the idol supergroup AKB48 pulled an infamous publicity stunt by revealing their new girl, Aimi Eguchi, was a com- puter-generated combination of other group members (Chen, 2011). So what does Miku have that they do not? Despite her apparent similar- ity to fictional characters such as Rei Toei from William Gibson’s Idoru, Miku’s phenomenon has less to do with futuristic prospects of technological singu- larity than with present-day renegotiations of the roles of author, work and fan in Web 2.0 media cultures. By addressing her softwarennetworknstage transformations, this study draws on a rapidly growing scholarship (Hama- saki, Takeda, & Nishimura, 2008; Le, 2013; Conner, 2014; Guga, 2014; Annett, 2015; Leavitt, Knight, & Yoshiba, 2016) to investigate how Miku’s appearance on screen(s) has shaped her construction as a virtual idol through grassroots- corporate “produsage” (Bruns, 2008). MIKU, FROM THE BEGINNING With a visionary name announcing the “First Sound of Future”, Hatsune POST-SCREEN: Intermittence + Interference POST-SCREEN: Miku, created in August 2007 by Sapporo-based company Crypton Future Me- dia, is the most popular avatar of Yamaha’s cutting-edge voice synthesizer VO- CALOID. -
Idols and Celebrity in Japanese Media Culture, Edited by Patrick W
Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin This page intentionally left blank Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Idols and Celebrity in Japanese Media Culture Edited by Patrick W. Galbraith and Jason G. Karlin University of Tokyo, Japan Copyright material from www.palgraveconnect.com - licensed to Murdoch University - PalgraveConnect - 2013-08-20 - PalgraveConnect University - licensed to Murdoch www.palgraveconnect.com material from Copyright 10.1057/9781137283788 - Idols and Celebrity in Japanese Media Culture, Edited by Patrick W. Galbraith and Jason G. Karlin Introduction, selection -
The Triplet Beat Goes On: Reverberations of a Popular "Black" Rhythm in the American Mainstream Pop and the Japanese Enka
The Triplet Beat Goes On: Reverberations of a Popular "Black" Rhythm in the American Mainstream Pop and the Japanese Enka Yoshiaki Sato (The University of Tokyo) I . The Beast Against Beauty: contrastive ways of rhythmic formation in popular US genres The title of my paper may need clarification. What is a triplet beat? Instead of wordy explanation, let us resort to Elvis Presley performing it in his second US #1 hit song. "I Want You, i Need YOl!, I Love You" (1956) The rhythm guitar repeats the chug-chug-chug pattern for 2 bars, and then the same beat is picked up by Elvis's voice as he sings the first line, "Ho-ol' -me tight." Here again: "with all my ha-ha-ha ha-ha-ha- heart!" Elvis rides on the triplet beat. This song has the basic 4 beat, but each of the 4 beats is divided into three little beats of roughly equal duration. These little notes are 158 called triplets. This rhythmic fonnation had become a cliche in performing the blues, as the genre evolved throughout the 1920s and 1930s. By the early 1950s, it was already recognized as a kind of marker of the so called "Black" Rhythm and Blues. Since it signified "blackness", it was handled with care by executives of the mainstream pop industry who promoted "mildly black" sounds. The following is perfonned by a well-groomed doo-wop group, the Platters. "OnlY You" (1955) Once the vocal begins, the triplet beat recedes into the background and is kept solely by the piano, which maintains the beat quite regularly and softly in mid-range keys. -
How Have COVID-19 Pushed the Expansion of Computer-Mediated Communication in Japanese Idol Culture?
No More Handshaking: How have COVID-19 pushed the expansion of computer-mediated communication in Japanese idol culture? Hiromu Yakura University of Tsukuba Tsukuba, Japan [email protected] ABSTRACT May 8–13, 2021, Yokohama, Japan. ACM, New York, NY, USA, 11 pages. In Japanese idol culture, meet-and-greet events where fans were https://doi.org/10.1145/3411764.3445252 allowed to handshake with an idol member for several seconds were regarded as its essential component until the spread of COVID-19. 1 INTRODUCTION Now, idol groups are struggling in the transition of such events In Japan, idol groups—which sometimes consists of more than 10 to computer-mediated communication because these events had or 20 members—are dominating music record sales [38]. Their suc- emphasized meeting face-to-face over communicating, as we can cess is achieved by their marketing strategy of giving emphasis infer from their length of time. I anticipated that investigating on holding meet-and-greet events to cultivate fans’ loyalty to in- this emerging transition would provide implications because their dividual members [10]. For example, while “handshaking events” communication has a unique characteristic that is distinct from well- (akushukai) where fans can talk for several seconds and shake hands studied situations, such as workplace communication and intimate with an idol member in exchange for buying a single CD are the relationships. Therefore, I first conducted a quantitative survey most popular form [10, 57], “photo-session events” (chekikai) where to develop a precise understanding of the transition, and based fans can take an instant photo with a member are also common [30].