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Spectacles of Authenticity: the Emergence of Transnational Entertainments in Japan and America, 1880-1905

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Spectacles of Authenticity: the Emergence of Transnational Entertainments in Japan and America, 1880-1905 SPECTACLES OF AUTHENTICITY: THE EMERGENCE OF TRANSNATIONAL ENTERTAINMENTS IN JAPAN AND AMERICA, 1880-1905 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF ART AND ART HISTORY AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Hsuan Tsen August 2011 © 2011 by Hsuan Tsen. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- No Derivative Works 3.0 United States License. http://creativecommons.org/licenses/by-nd/3.0/us/ This dissertation is online at: http://purl.stanford.edu/zn835vf2397 Includes supplemental files: 1. (Tsen Images.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Scott Bukatman, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Wanda Corn I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. James Reichert I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Bryan Wolf Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives. iii iv Abstract In the late-nineteenth and early twentieth centuries, America and Japan were in the process of establishing their positions as powers in a world dominated by Western Europe. The two nations with unconnected histories and cultures found themselves in momentary sympathy as they embarked on their first forays into military imperialism, expanded their trade, and constructed civic institutions intended to compete with those of Europe. It was during this period that mass entertainments developed and began circulating across national borders and, drawing on tourist practices, helped create a “universal” visual culture which coexisted with local particularities. Visitors attended entertainments in Japan or America with the knowledge that identical or similar versions existed in the modern cities of Europe and thus, I argue, felt they were participating in a shared modern culture and became, themselves, modern citizens. This dissertation undertakes a study of their shared visual culture and modern entertainments with the goal of nuancing current scholarship on East/West exchanges and expanding the definition of modernity. Existing scholarship on Japanese and American interactions too often relies on the theories of orientalism and post-colonialism, theories which can be productive but also presume a power dynamic in which the West subjugates and emasculates the East. This approach runs the risk of denying the power and agency Japan possessed as well as American interest and respect for Japan, both of which existed alongside the racist imperialism practiced by the West. Many scholars have observed that Americans viewed Japan as a confusing cultural other with a baffling skill at appearing modern. This dissertation begins with the premise that Japan was modern and re-examines American v and Japanese cultural exchanges from this position with the aim of shifting the paradigms of modernity and modern visuality. Three modern phenomena, panoramas, World’s Fairs, and film, form the core of my three main chapters and describe a process of appropriation, assimilation, and collaboration through their movements from Europe, across America to Japan, and then returning to America. The first chapter introduces my argument of a shared modernity through an analysis of the appropriation of visual power by Americans and Japanese which manifested in panoramas of their respective civil wars. The second chapter examines Japanese self-representation at the Louisiana Purchase Exposition, arguing that the Japanese tea house and garden which formed their national pavilion were products of Japan’s assimilation of modern historicizing practices and the canonization of their architectural past rather than the product of Western orientalizing attitudes. In the third chapter I look at representations of Japanese masculinity in American film and contextual publications, arguing that Americans were receptive to Japan’s masculinity and invested in Japanese military success. vi Acknowledgements As with any project which took as long as this one, it could not have been completed without the invaluable support and assistance of numerous individuals and institutions. I am grateful to Stanford University and the faculty of the Department of Art and Art History for funding my graduate career and supporting my intellectual endeavors. In addition to the financial support I have received from Department of Art and Art History, I have also been fortunate enough to receive funding from the Foreign Language and Area Studies Program (FLAS), the Terra Foundation, and Dissertation Grants in Japanese Studies from the Freeman-Spogli Institute for International Studies at Stanford. In thanking individuals I must begin with my advisor, Scott Bukatman. He has always had faith that I knew what I was doing and, even more importantly, believed that I could accomplish the task I set for myself. The impressive breadth of his expertise, ability to ask incisive and generative questions no matter the topic at hand, and intellectual rigor has served as a guide and a standard which I can only hope to meet. Without his comments, edits, and tireless reading and re-reading of the many drafts and revisions, this dissertation would still be in an inchoate state. I began working with most of my committee members in my first year at Stanford and count myself lucky to have had their support and company throughout this entire process. Wanda Corn has provided invaluable professional guidance; her generosity, energy, and acuity serve as inspirations. In addition to helping me secure funding in moments of need, Jim Reichert has set a high bar with his thoughtful and extensive vii comments on everything from term papers to chapter drafts to the defense. Bryan Wolf’s enthusiasm reminds me that I entered this field because I find joy in the process of puzzling out meanings and connections. I owe much thanks to the staff of the Department of Art and Art History and the Art Library, particularly Jill Davis. She has provided succor, guidance, reprimands, and friendship in turn. I cannot imagine having to go through this process without her presence. In addition, I would like to thank the Art History librarians, Roy Viado, Katie Keller, and Peter Blank. I also wish to express my gratitude to the staff at the libraries and archives which were so crucial to this project. In particular, the Chicago Historical Society, Yokohama City Museum, Missouri Historical Society, California Society of Pioneers, San Francisco Public Library Special Collections, the Yokohama Historical Society, the National Diet Library, the World’s Fair Collection at the Henry Madden Library, California State University, Fresno, and the Edo-Tokyo Museum. This dissertation could not have been completed without the amazing teachers at the Inter-University Center for Japanese Language Studies (IUC) in Yokohama. I wish to especially thank Kushida Kiyomi who was sympathetic and encouraging throughout the twelve months I spent at IUC. Without her patient and skillful instruction in Japanese language and assistance in gaining some degree of proficiency in reading about art history and visual culture in Japanese this dissertation would not have been possible. I would also like to extend thanks to Sura Levine, my undergraduate advisor who introduced me to art history, let me undertake an ambitious thesis, and convinced me that I had some aptitude for the field. It is because of her teaching and encouragement that I entered graduate school. viii My fellow graduate students have provided encouragement, advice, insights, and sympathy. Louise Siddons has been an intellectual companion and good friend, willing to talk critically and playfully about any topic at hand. Her unwavering conviction in my project helped my get through the days when nothing seemed to be working. While she has read my work numerous times I am especially thankful for one particular instance which did much to pull me out of a writing thicket. Pauline Ota began as my companion in graduate student positions and grew into a writing partner and friend. She has fielded desperate emails, provided humor in moments of frustration, and sound advice when needed. Other friends outside the Stanford community who sustained me throughout the process are Emily Arkin, Mark Erdmann, Sara Levavy, Liz Pagano, Alice Petty, Joanna Sturiano, and Steven Tang. I especially want to thank Rob Savoie for telling me that there was a professor named Scott he thought I would enjoy working with and calling me every day to make sure I actually applied to the program. Finally I thank my family whose steadfast support was invaluable to this process. Our conversations, from my earliest memories of debates around the dinner table, have demanded that I think through my positions, ask questions, concede my points when appropriate, and generally enjoy the process of intellectual inquiry. Finally, they taught me that doing what you loved was the only career worth doing. ix Table of Contents Abstract iv Acknowledgements vi Table of Contents ix List of Figures x Introduction: Japanese and American Spectacular Modernities 1 Chapter 1: Revisioning the World: Battle Panoramas 28 Chapter Two: Marketing a Nation: Creating “Japan” at the St. Louis Fair 73 Chapter Three: Perfoming Modern Japan 133 Conclusion 192 Bibliography 211 Figures 231 x List of Figures Chapter One Fig.
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