Cool Japan Strategy
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Mariko Mori and the Globalization of Japanese “Cute”Culture
《藝術學研究》 2015 年 6 月，第十六期，頁 131-168 Mariko Mori and the Globalization of Japanese “Cute” Culture: Art and Pop Culture in the 1990s SooJin Lee Abstract This essay offers a cultural-historical exploration of the significance of the Japanese artist Mariko Mori (b. 1967) and her emergence as an international art star in the 1990s. After her New York gallery debut show in 1995, in which she exhibited what would later become known as her Made in Japan series— billboard-sized color photographs of herself striking poses in various “cute,” video-game avatar-like futuristic costumes—Mori quickly rose to stardom and became the poster child for a globalizing Japan at the end of the twentieth century. I argue that her Made in Japan series was created (in Japan) and received (in the Western-dominated art world) at a very specific moment in history, when contemporary Japanese art and popular culture had just begun to rise to international attention as emblematic and constitutive of Japan’s soft power. While most of the major writings on the series were published in the late 1990s, problematically the Western part of this criticism reveals a nascent and quite uneven understanding of the contemporary Japanese cultural references that Mori was making and using. I will examine this reception, and offer a counter-interpretation, analyzing the relationship between Mori’s Made in Japan photographs and Japanese pop culture, particularly by discussing the Japanese mass cultural aesthetic of kawaii (“cute”) in Mori’s art and persona. In so doing, I proffer an analogy between Mori and popular Japanimation characters, SooJin Lee received her PhD in Art History from the University of Illinois-Chicago and was a lecturer at the School of Art Institute of Chicago. -
Hamada Shōji (1894-1978)
HAMADA SHŌJI (1894-1978) Hamada Shōji attained unsurpassed recognition at home and abroad for his folk art style ceramics. Inspired by Okinawan and Korean ceramics in particular, Hamada became an important figure in the Japanese folk arts movement in the 1960s. He was a founding member of the Japan Folk Art Association with Bernard Leach, Kawai Kanjirō, and Yanagi Soetsu. After 1923, he moved to Mashiko where he rebuilt farmhouses and established his large workshop. Throughout his life, Hamada demonstrated an excellent glazing technique, using such trademark glazes as temmoku iron glaze, nuka rice-husk ash glaze, and kaki persimmon glaze. Through his frequent visits and demonstrations abroad, Hamada influenced many European and American potters in later generations as well as those of his own. 1894 Born in Tokyo 1912 Saw etchings and pottery by Bernard Leach in Ginza, Tokyo 1913 Studied at the Tokyo Technical College with Itaya Hazan (1872-1963) Became friends with Kawai Kanjiro (1890-1966) and visits in Kyoto (1915) 1914 Became interested in Mashiko pottery after seeing a teapot at Hazan's home 1916 Graduated from Tokyo Technical College and enrolled at Kyoto Ceramics Laboratory, visits with Tomimoto Kenkichi (1886-1963) Began 10,000 glaze experiments with Kawai 1917 Visited Okinawa to study kiln construction 1919 Met Bernard Leach (1887-1979) at his Tokyo exhibition, invited to him his studio in Abiko where meets Yanagi Sōetsu (1889-1961) Traveled to Korea and Manchuria, China with Kawai 1920 Visited Mashiko for the first time Traveled to England with Leach, built a climbing kiln at St. Ives 1923 Traveled to France, Italy, Crete, and Egypt after his solo exhibition in London 1924 Moved to Mashiko. -
Kaori Someya C.V
Kaori Someya C.V. Career 1977 Born in Shimane Prefecture, Japan 1999 Completed Undergraduate Program - Nihonga Japanese Painting Major - Department of Fine Arts, Tokyo University of the Arts 2002 Completed Masters Program - Conservation and Restoration of Cultural Assets Major -Graduate School of Fine Arts, Tokyo University of the Arts 2004 Research Assistant at the Tokyo National Research Institute for Cultural Properties (~’06) 2008 Adjunct Instructor at Keio University (~’13) 2009 Adjunct Instructor at the Graduate School of Fine Arts, Tokyo University of the Arts (~’14) 2014 Research Assistant at the Graduate School of Fine Arts, Tokyo University of the Arts (~’17) 2015 Received Nomination to become Tokutai Ranking Member of Nihon Bijutsuin 2017 Assistant Professor at the Graduate School of Fine Arts, Tokyo University of the Arts (~’20) Present Tokutai Ranked Member of the Japan Arts Institute (Nihon Bijutsuin) Public Collections Permanent collections Adachi Museum of Art / Sato Sakura Museum / Niimi Museum of Art / Imai Art Museum Noteworthy Solo Exhibitions 2005 Kaori Someya Solo Exhibition, Gallery Tomo (Ginza) 2008 The Shape of Life, Gallery Goto (Ginza) 2010 Various Shapes, Tobu - Ikebukuro 2012 A Woman’s Heart Changes Like the Weather, Tobu - Ikebukuro 2013 The Colour of Flowers, Sogo - Hiroshima 2014 Hanamamire (Covered in Flowers), Tobu - Ikebukuro The Colour of Flowers, Seibu - Otsu and Sogo - Kobe 2015 Synchronicity - A Meaningful Coincidence, Tobu - Ikebukuro 2016 Exhibition of Kaori Someya’s Works Featured on the Cover -
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. -
Kawaii Feeling in Tactile Material Perception
Kawaii Feeling in Tactile Material Perception Michiko Ohkura*, Shunta Osawa*, Tsuyoshi Komatsu** * College of Engineering, Shibaura Institute of Technology, {ohkura, l08021}@shibaura-it.ac.jp, ** Graduate School of Engineering, Shibaura Institute of Technology, [email protected] Abstract: In the 21st century, the importance of kansei (affective) values has been recognized. How- ever, since few studies have focused on kawaii as a kansei value, we are researching its physical at- tributes of artificial products. We previously performed experiments on kawaii shapes, colors, and sizes. We also performed experiments on kawaii feelings in material perception using virtual ob- jects with various visual textures and actual materials with various tactile textures. This article de- scribes the results of our new experiment on kawaii feeling in material perception using materials with various tactile textures corresponding with onomatopoeia, clarifying the phonic features of onomatopoeia with materials evaluated as kawaii. The obtained results are useful to make more at- tractive industrial products with material perception of kawaii feeling. Key words: kansei value, kawaii, tactile sensation, material perception, onomatopoeia 1. Introduction Recently, the kansei (affective) value has become crucial in industrials in Japan. The Japanese Ministry of Economy, Trade and Industry (METI) determined that it is the fourth most important characteristic of industrial products after function, reliability, and cost [1]. According to METI, it is important not only to offer new functions and competitive prices but also to create a new value to strengthen Japan’s industrial competitiveness. Focusing on kansei as a new value axis, METI launched the “Kansei Value Creation Initiative” in 2007 [1,2] and held a kansei value creation fair called the “Kansei-Japan Design Exhibition” at Les Arts Decoratifs (Museum of Decora- tive Arts) at the Palais du Louvre in Paris in December 2008. -
JAPAN—Books and Websites
JAPAN—Books and Websites BUSINESS The Mind Of The Strategist: The Art of Japanese Business by Kenichi Ohmae Japanese Business Culture and Practices: A Guide to Twenty-First Century Japanese Business by John Alston (Author), Isao Takei The Japanese Economy By David Plath The Japanese Economy: Then, Now, and Beyond by Mitsuru Taniuchi http://www.japanintercultural.com/en/blogs/default.aspx http://www.japaninc.com/japan-inc-blog http://www.kwintessential.co.uk/resources/global-etiquette/japan-country- profiles.html http://www.economist.com/topics/japanese-economy http://www.tradegood.com/en/insights/viewpoints/japans-economy-in-2014-bear-or- bull.html http://www.theodora.com/wfbcurrent/japan/japan_economy.html 2 NEWS http://www.japantimes.co.jp/ http://ajw.asahi.com/?ref=asacom http://mainichi.jp/english/ http://asia.nikkei.com/ (business news) HISTORY A History of Japan by R. H. P. Mason , J. G. Caiger A History of the Japanese People From the Earliest Times to the End of the Meiji Era By F. (Frank) Brinkley (Author), Dairoku Kikuchi (Author) A Brief History of Japanese Civilization by Conrad Schirokauer , David Lurie, Suzanne Gay http://www.japan-101.com/history/ http://japanesehistory.info/ http://people.cohums.ohio- state.edu/bender4/eall131/EAHReadings/module02/m02japanese.html 3 CULTURE Etiquette Guide to Japan: Know the Rules that Make the Difference! by Boye Lafayette De Ment The Japanese Mind: Understanding Contemporary Japanese Culture by Roger J. Davies (Author), Osamu Ikeno (Author) http://www.japanese-buddhism.com/japanese-religion.html -
Cuteness": the Aesthetics of Social Relations in a New Postwar Japanese Order
CAPITALIZING ON "CUTENESS": THE AESTHETICS OF SOCIAL RELATIONS IN A NEW POSTWAR JAPANESE ORDER Leila MADGE In the fall of 1988, Yoshida Kenji, the president of the San'yo Sago Bank in Okayama, made headline news in the economics section of leading Japa nese newspapers. Unlike most bank presidents appearing in the news at that time, Yoshida was not defending himself or his bank from accusations of wrongdoings. He had made the national news because of the new name he had chosen for his bank: Tomato Bank. The occasion for the new name was the bank's planned change in status from a savings and loan associa tion to a commercial bank following a recent reform in Japanese banking law. The hoopla that arose around the name "Tomato," along with the bank's bright red logo, was related to the associations that it conjured up in many Japanese minds, associations that somehow seemed incongruent with the image that banking institutions have traditionally held in Japan. Although there was some initial opposition among bank employees, who felt that the name Tomato sounded more appropriate for an agricul tural cooperative than for a bank, the public response seemed only posi tive. Although the conversion was not to take place for six months, Sanyo Sago was inundated with inquiries from people all over the country wish ing to open accounts at the new Tomato Bank. In interviews about the un expected popularity of the previously little-known prefectural bank, Yoshida explained that he thought it important to send the message that he was "breaking the status quo." A crucial element in the delivery of this message was the use of a name that would be perceived by the public as kawaii (cute, as translated in the Japan Times, 21 October 1988: 11). -
From the Japanese Traditional Edo Culture to Anime and Manga Takuji
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Kwansei Gakuin University Repository 1 Kwansei Gakuin University Social Sciences Review Vol.19, 2014 Nishinomiya, Japan Roots of Cool Japan: From the Japanese Traditional Edo Culture to Anime and Manga Takuji OKUNO Japan’s transition from making things to making tales Japanese popular culture, known as “Cool Japan,” includes animations, comics, video games, figures, and J-pops that are highly acclaimed in Europe and the United States as well as throughout Asia. From the 1970s to the 1980s, Japan gained confidence in its ability to “make things” because consumers around the world embraced its manufactured products such as electric home appliances and automobiles with open arms in preference to the products of other advanced countries. However, at the beginning of the Heisei era, the bubble in the Japanese economy suddenly burst and Japan’s gross national product (GNP) plummeted, resulting in what is termed “the burst of economic bubble of 1990.” Relatively cheaper manufactured products from other Asian countries gained precedence over Japanese products. In response, many Japanese manufacturers moved their production plants to other Asian countries, particularly settling in mainland China, where labor costs were lower than in Japan. The recession was protracted and the Japanese people suffered from a sense low confidence in their abilities to overcome the recession. By the late 1990s, Prime Ministers Mori and, subsequently, Koizumi responded to Japanese political leader Heizo Takenaka’s advocacy of an information technology (IT) revolution in Japan as a way to beat the recession. -
Japanese Department Stores: a Failure in Globalisation
Japanese Department Stores: A Failure in Globalisation Dr. Rika Fujioka Professor Faculty of Business Administration, Osaka University of Economics 2-2-8 Osumi, Higashiyodogawa-ku, Osaka, 533-8533, Japan E-mail: [email protected] Globalisation for Japanese department stores has been far from successful compared with UK grocery retailers such as Tesco and Marks & Spencer; Japanese convenience stores such as Seven-Eleven and Family Mart; and Japanese manufacturers such as Toyota and Sony. However, Japanese department stores have been around since the globalisation of Japanese enterprises began. The managers of department stores carefully considered their overseas market and their international activities. Although they made a decision to adopt this kind of strategy, they did not, until recently, conduct a full-scale globalisation operation. This paper traces the globalisation process that Japanese department stores underwent, and examines the impact that this process had on them. In this study, it will become clear why Japanese department stores failed in their attempts at globalisation, by analysing the significant turning points in their history. The Early Development of Department Stores Department stores were in the vanguard of foreign trade in Japan. After the Meiji Restoration, Japan became more outward-looking in the late 19th century. Some managers at large dry goods stores, the predecessors of department stores, went to Europe and the US in order to obtain training in Western-style store management and learn skills to improve Japanese production systems. By the end of the 19th century, some of these managers had opened overseas branches in Europe with expatriate staff to import Western products and samples of merchandise to Japan, and to trade textile products with European countries. -
List of Points of Sale Participating in Guerlain’S International Fund Drive for 2021 World Bee Day
LIST OF POINTS OF SALE PARTICIPATING IN GUERLAIN’S INTERNATIONAL FUND DRIVE FOR 2021 WORLD BEE DAY DOOR NAME CATEGORY CITY AREA DAVID JONES Melbourne Bourke Street Mall DEPARTMENT STORE Melbourne AUSTRALIA DAVID JONES Sydney Elizabeth Street DEPARTMENT STORE Sydney AUSTRALIA BOUTIQUE Bruxelles GUERLAIN BOUTIQUE Brussels BELGIUM HOLT RENFREW Calgary DEPARTMENT STORE Calgary CANADA HOLT RENFREW Square One DEPARTMENT STORE Mississauga CANADA HOLT RENFREW Ogilvy DEPARTMENT STORE Montreal CANADA HOLT RENFREW Bloor DEPARTMENT STORE Toronto CANADA HOLT RENFREW Vancouver DEPARTMENT STORE Vancouver CANADA LE BON MARCHÉ RIVE GAUCHE DEPARTMENT STORE Paris FRANCE BOUTIQUE Beaugrenelle GUERLAIN BOUTIQUE Paris FRANCE BHV MARAIS DEPARTMENT STORE Paris FRANCE BOUTIQUE Vendôme GUERLAIN BOUTIQUE Paris FRANCE MAISON GUERLAIN 68 Champs-Élysées GUERLAIN BOUTIQUE Paris FRANCE INSTITUT Paris 68 Champs-Élysées INSTITUTES & SPAS Paris FRANCE GALERIES LAFAYETTE HAUSSMANN DEPARTMENT STORE Paris FRANCE BOUTIQUE Marionnaud Convention GUERLAIN BOUTIQUE Paris FRANCE PRINTEMPS HAUSSMANN BEAUTÉ DEPARTMENT STORE Paris FRANCE BOUTIQUE Francs-Bourgeois GUERLAIN BOUTIQUE Paris FRANCE BOUTIQUE Haussmann GUERLAIN BOUTIQUE Paris FRANCE BOUTIQUE Passy GUERLAIN BOUTIQUE Paris FRANCE BOUTIQUE Sèvres GUERLAIN BOUTIQUE Paris FRANCE KADEWE Berlin DEPARTMENT STORE Berlin GERMANY ALSTERHAUS Hamburg DEPARTMENT STORE Hamburg GERMANY KAUFHOF Düsseldorf Königsallee DEPARTMENT STORE Düsseldorf GERMANY BREUNINGER Stuttgart DEPARTMENT STORE Stuttgart GERMANY BOUTIQUE München oberpollinger -
Hier Gezeigte Ausstellung Wurde Von Der Japanischen IHK Zu Düsseldorf E.V
WAN IM D E L SPARTN FT ER A D H C E S R T ZEIT R I W W R N D N JAPAN U 160 JAHRE www.jihk.de 160 Jahre Wirtschaftspartner Wirtschaftsbeziehungen zwischen Japan und Nordrhein-Westfalen im Wandel der Zeit Japanische IHK zu Düsseldorf Service für japanische Unternehmen in Deutschland www.jihk.de Die Gründung der Japanischen Industrie- und Handelskammer hatte einen ganz wichtigen Grund: Man wollte vermeiden, dass japanische Firmen doppelt besteuert werden. Heute, 55 Jahre nach ihrer Gründung, ist sie die Ansprechpartnerin für alle Belange der japanischen Unternehmen in Deutschland und größte ihrer Art in Europa. Eigeninitiative lohnt sich 1966 schlossen sich 66 japanische Unternehmen, die sich in Düsseldorf und Umgebung niedergelassen hatten, zur Japanischen Industrie- und Handelskammer zu Düsseldorf e.V., kurz JIHK, zusammen 1967 wurde das Abkommen zur Vermeidung der Doppelbesteuerung von beiden Staaten ratifiziert 1971 reifte auch die Idee, einen japanischen Garten im Nordpark anzulegen, der vollständig von japanischen Firmen finanziert und 1975 feierlich eröffnet wurde 1978 folgte der Umzug ins Deutsch-Japanische Center. Von damals 265 stiegen die Mit- Erster dt.-jap. Mittagstisch im Restaurant gliedszahlen der JIHK stetig an. Nippon-Kan, 1960er Jahre ©Stadtarchiv Düsseldorf Heute ist die Japanische IHK zu Düsseldorf e.V. mit deutschlandweit 537 Mitgliedern der mitgliederstärkste japanische Unternehmerverband in Europa. 160 Jahre Wirtschaftspartner Wirtschaftsbeziehungen zwischen Japan und Nordrhein-Westfalen im Wandel der Zeit 2 Japanische IHK zu Düsseldorf Ein bleibender Mehrwert Die JIHK setzt sich seit ihrer Gründung für die Überwindung von Handelsbarrieren ein. Ge- meinsam mit weiteren Akteuren engagierte sie sich beispielsweise für den Abschluss des Freihandelsabkommens zwischen der EU und Japan, das am 01.02.2019 in Kraft trat. -
The Life of Animals in Japanese Art Jun 2–Aug 18, 2019
UPDATED: 5/30/2019 3:04:02 PM Rotation Checklist: The Life of Animals in Japanese Art Jun 2–Aug 18, 2019 Works from rotation A are on view through July 7. Works will be rotated on a rolling basis during the week of July 8-12. Some works from rotation A will go off view and not be replaced with another work. Works from rotation B are on view following July 13. The exhibition is curated by Robert T. Singer, curator and department head, Japanese art, LACMA, and Masatomo Kawai, director, Chiba City Museum of Art, in consultation with a team of esteemed of Japanese art historians. Coorganized by the National Gallery of Art, Washington, the Japan Foundation, and the Los Angeles County Museum of Art, with special cooperation from the Tokyo National Museum. LACMA is presenting an abbreviated version of the exhibition, titled Every Living Thing: Animals in Japanese Art from September 22 through December 8, 2019. Made possible through the generous support of the E. Rhodes and Leona B. Carpenter Foundation. The Robert and Mercedes Eichholz Foundation also kindly provided a leadership gift for this exhibition. Additional funding is provided by The Exhibition Circle of the National Gallery of Art and the Annenberg Fund for the International Exchange of Art. Additional support is provided by All Nippon Airways (ANA). The exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. The exhibition is part of Japan 2019, an initiative to promote Japanese culture in the United States. Press Release: https://www.nga.gov/press/exh/4874.html Order Press Images: https://www.nga.gov/press/exh/4874/images.html Press Contact: Isabella Bulkeley, (202) 842-6864 or [email protected] 1 A Cat.