「我々とは別世界」 Wareware to Wa Bessekai
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“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. -
Japanese Business Concepts You Should Know
1 Japanese Business Concepts You Should Know Edited by Parissa Haghirian Sophia University Tokyo, Japan 2 Contents About this Book ......................................................................................... 4 The Editor ................................................................................................ 5 Japanese Business Concepts You Should Know ................................................. 6 Contributors of This Book ............................................................................ 94 Bibliography ............................................................................................ 96 Further Reading on Japanese Management .................................................... 102 3 About this Book This book is the result of one of my “Management in Japan” classes held at the Faculty of Liberal Arts at Sophia University in Tokyo. Students wrote this dictionary entries, I edited and updated them. The document is now available as a free e-book at my homepage www.haghirian.com. We hope that this book improves understanding of Japanese management and serves as inspiration for anyone interested in the subject. Questions and comments can be sent to [email protected]. Please inform the editor if you plan to quote parts of the book. Japanese Business Concepts You Should Know Edited by Parissa Haghirian First edition, Tokyo, October 2019 4 The Editor Parissa Haghirian is Professor of International Management at Sophia University in Tokyo. She lives and works in Japan since 2004 -
Samurai Champloo: Transnational Viewing Jiwon Ahn
Samurai Champloo: Transnational Viewing Jiwon Ahn From the original edition of How to Watch Television published in 2013 by New York University Press Edited by Ethan Thompson and Jason Mittell Accessed at nyupress.org/9781479898817 This work is licensed under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International License (CC BY-NC-ND). 39 Samurai Champloo Transnational Viewing Jiwon Ahn Abstract: Television criticism usually addresses “what” TV is watched, and ofen “who” watches, but “where” TV is watched is less commonly considered vital to understanding it. In this look at the anime program Samurai Champloo, Jiwon Ahn argues for the importance of “where” to the meanings and pleasures of texts which—like anime—circulate in television’s global fows. Watching an imported or translated text on television is an increasingly ordinary experience in the current state of globalization. But what unique critical questions should we consider in order to make sense of such viewings? To understand our de- sire for and pleasure in viewing imported television texts, we need to consider how texts produced for overseas distribution are designed diferently for international audiences, and how this design may infect (or not) our viewing of them. Anime ofers a productive example in that the format’s long history of international circula- tion inevitably involved the development of textual strategies suited to transnational consumption, including, notably, an efort to balance exoticism with familiarity in terms of appeal. While the popularity of shows such as Dragon Ball Z (Cartoon Net- work, 1998–2005), Ranma ½ (Fuji Television, 1989–1992), and InuYasha (Cartoon Network, 2000–2004) on U.S. -
This Sporting Life: Sports and Body Culture in Modern Japan William W
Yale University EliScholar – A Digital Platform for Scholarly Publishing at Yale CEAS Occasional Publication Series Council on East Asian Studies 2007 This Sporting Life: Sports and Body Culture in Modern Japan William W. Kelly Yale University Atsuo Sugimoto Kyoto University Follow this and additional works at: http://elischolar.library.yale.edu/ceas_publication_series Part of the Asian History Commons, Asian Studies Commons, Cultural History Commons, Japanese Studies Commons, Social and Cultural Anthropology Commons, and the Sports Studies Commons Recommended Citation Kelly, William W. and Sugimoto, Atsuo, "This Sporting Life: Sports and Body Culture in Modern Japan" (2007). CEAS Occasional Publication Series. Book 1. http://elischolar.library.yale.edu/ceas_publication_series/1 This Book is brought to you for free and open access by the Council on East Asian Studies at EliScholar – A Digital Platform for Scholarly Publishing at Yale. It has been accepted for inclusion in CEAS Occasional Publication Series by an authorized administrator of EliScholar – A Digital Platform for Scholarly Publishing at Yale. For more information, please contact [email protected]. This Sporting Life Sports and Body Culture in Modern Japan j u % g b Edited by William W. KELLY With SUGIMOTO Atsuo YALE CEAS OCCASIONAL PUBLICATIONS VOLUME 1 This Sporting Life Sports and Body Culture in Modern Japan yale ceas occasional publications volume 1 © 2007 Council on East Asian Studies, Yale University 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 permis- sion. 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. -
Film Trade in Japan Since the 1950S: Government Policies and Media Development
Keio Communication Review No. 26, 2004 Film Trade in Japan since the 1950s: Government Policies and Media Development by LEE Sang-Woo* Introduction After World War II in the 1950s, Japanese cinema entered a time of unprec- edented creativity and prosperity. That is, there had been a post-World War II peak in competitiveness of the Japanese film industry with American films in Japan before television substantially diminished the domestic resource base of Japanese film producers. For example, in Japan, domestic films earned more than 70% of the box-office at their peak in the late 1950s. Throughout the 1950s, domestic film output fluctuated between 400 and 600. Japan’s domestic share was higher than 60% until the early 1960s. However, Japan’s domestic market share has greatly decreased since then, to a low of 40% in the late 1990s, while American movies accounted for nearly all of the remaining 60%. In the 1960s, major film studios faced persistently declining demand, so they reduced their movie output. In the 1980s, the domes- tic movies’ box-office shares in Japan were about 50 percent. However, by 1990, they had decreased to 40 percent. In sum, Japanese films still had around 30 to 40 percent of the Japanese box office admissions in the 1990s, which is rela- tively high in comparison with other Asian countries’ domestic share. Never- theless, Japanese films’ share has decreased consistently since the 1960s. Do- mestic film output in Japan has also decreased to around 250 in the late 1990s. Then, the question is how Hollywood has overwhelmed the Japanese film industry since the 1960s. -
DBS Policymaking in Japan: an Interpretive History Roya Akhavan-Majid St
St. Cloud State University theRepository at St. Cloud State Mass Communication Faculty Publications Department of Mass Communications 12-1989 DBS Policymaking in Japan: An Interpretive History Roya Akhavan-Majid St. Cloud State University, [email protected] Follow this and additional works at: https://repository.stcloudstate.edu/comm_facpubs Part of the Journalism Studies Commons, and the Mass Communication Commons Recommended Citation Akhavan-Majid, Roya, "DBS Policymaking in Japan: An Interpretive History" (1989). Mass Communication Faculty Publications. 7. https://repository.stcloudstate.edu/comm_facpubs/7 This Peer Reviewed Article is brought to you for free and open access by the Department of Mass Communications at theRepository at St. Cloud State. It has been accepted for inclusion in Mass Communication Faculty Publications by an authorized administrator of theRepository at St. Cloud State. For more information, please contact [email protected]. DBS policymaking in Japan An interpretive history Roya Akhavan-Majid Despite Japan's successful experimentation with DBS technology, fundamental conflicts of interest between NHK and Japan's commercial broadcasters continue to chart an uncertain course for the future of Japan's DBS programme. This study traces the history of DBS policy- making in Japan, focusing on the role of the conflict between the two power groups in shaping Japanese DBS policy. The author highlights important policy considerations and discusses how the conflict between NHK and the commercial broadcasters must be resolved in order for Japan's DBS programme to be successfully implemented. Since the inception of Japan's DBS programme in 1972, direct broadcast satellite policy-making in Japan has been fraught with strong clashes of interest between NHK 1 and Japan's commercial broadcasters. -
5A1cc702152dbb6d0a5a160c39
A TRACTATE ON JAPANESE AESTHETICS DONALD RICHIE Stone Bridge Press • Berkeley, California Published by Stone Bridge Press P.O. Box 8208 Berkeley, CA 94707 TEL 510-524-8732 [email protected] www.stonebridge.com © 2007 Donald Richie. All rights reserved. No part of this book may be reproduced in any form without permission from the publisher. Manufactured in the United States of America. LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Richie, Donald, 1924- A tractate on Japanese aesthetics / Donald Richie. p.cm. Includes bibliographical references. ISBN 978-1-933330-23-S (pbk.) 1. Aesthetics-Japan. l. Title. BH22LJ3Rs3 2007 111'.8s09S2-dc22 2007017228 for J. Thomas Rimer "Art is the imposing of a pattern on experience and our aesthetic enjoyment is recognition of the pattern:' ALFRED NORTH WHITEHEAD Dialogues (1954) 10 June 1943 CONTENTS Preface 11 THE TRACTATE 15 Glossary 71 Bibliography 74 PREFACE IN WRITING ABOUT traditional Asian aesthetics, the 11 conventions of a Western discourse-order, logical progression, symmetry-impose upon the subject an aspect that does not belong to it. Among other ideas, Eastern aesthetics suggests that ordered structure contrives, that logical exposition falsifies, and that linear, consecutive argument eventually limits. As the aesthetician Itoh Teiji has stated regard ing the difficultiesthat Japanese experience in defin ing aesthetics: "Thedilemma we face is that our grasp is intuitive and perceptual rather than rational and logical:' Aesthetic enjoyment recognizes artistic pat terns, but such patterns cannot be too rigid or too circumscribed. Most likely to succeed in definingJapanese aes thetics is a net of associations composed of listings or jottings, connected intuitively, that fills in a back ground and renders the subject visible. -
Wabi Sabi: Japanese Wisdom for a Perfectly Imperfect Life
Also by Beth Kempton FREEDOM SEEKER: Live more. Worry less. Do what you love. Copyright Published by Piatkus ISBN: 978-0-349-42099-8 Copyright © 2018 Beth Kempton The moral right of the author has been asserted. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of the publisher. The publisher is not responsible for websites (or their content) that are not owned by the publisher. Piatkus Little, Brown Book Group Carmelite House 50 Victoria Embankment London EC4Y 0DZ www.littlebrown.co.uk www.hachette.co.uk To my family. I love you just the way you are. A note on the use of Japanese in this book Japanese personal names have been written in standard English name order for ease of reference (first name followed by surname), except for historical figures most commonly known by the traditional Japanese name order (family name first), such as Matsuo Bashō (family name of Matsuo). The modified Hepburn system has been used to romanise the Japanese language. Macrons have been used to indicate long vowels; for example, ū for an extended ‘uu’. This includes place names, even if they are familiarly known without the macrons, such as Tōkyō and Kyōtō. When referencing people, the suffix -san is sometimes used. This is a polite way to say ‘Mr’, ‘Mrs’ or ‘Ms’. When the suffix -sensei is used, this refers to a teacher or professor. CONTENTS Also by Beth Kempton Title Page Copyright Dedication A note on the use of Japanese -
Children's Television
Children’s Television: Trends Around the World KODAIRA Sachiko Imaizumi As we enter an age in which children interact with an ever-increasing number of electronic media, it is nonetheless television that remains dominant in chil- dren’s lives. Around the world, there is a remarkable increase in children’s broadcasting: channels devoted to children’s television are being created, and existing channels are giving increasing priority to their programs for children. With rapid changes in society, programs are being developed in various ways to support the growth of children. There are greater opportunities for children worldwide to see these programs. At the same time, the effect of television and other media on children is a topic of serious debate and concern all over the globe. The Prix Jeunesse International marked the fortieth anniversary of this high profile children’s television festival in 2004. In addition, it was the year of the fourth World Summit on Media for Children, held every three years since 1995, which aims to improve the quality of programming and media for chil- dren throughout the world. Japan, meanwhile, celebrated 50 years of televi- sion—including television for children—in 2003, and program planners are now embarking on children’s television design for a new age. This essay presents an analysis of current trends in children’s television around the world, and explores issues for the future.*1 * The following abbreviations are used in the footnotes: HBKN: NHK Hoso Bunka Kenkyujo nenpo [NHK Annual Bulletin of Broadcasting Culture Research]; HKC: Hoso kenkyu to chosa [NHK Monthly Report on Broadcast Research]. -
Professional Wrestling in Japan: Media and Message
Title Professional wrestling in Japan : Media and Message Author(s) Thompson, Lee A. Citation 年報人間科学. 8 P.7-P.28 Issue Date 1987 Text Version publisher URL https://doi.org/10.18910/9868 DOI 10.18910/9868 rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University Faculty of Human Sciences, Osaka University, Feb. 1987 Annals of Human Sciences, Vol.8, pp.7-28. Professional Wrestling in Japan Media and Message Lee A. Thompson Professional Wrestling in Japan Media and Message Lee A. Thompson ABSTRACT This paper documents the important role of Western-style professional wrestling in the popular culture of Japan, focusing on the early years in which it was established, 1953-1963. These were also the years in which television achieved its phenomenal growth, and the symbiotic relationship between the "sport" and the medium is explored. It is also shown that the great popularity of professional wrestling in Japan is related to its embracing of a powerful theme: Japan against the world, the West, America. Western-style professional wrestling has an important place in the popular culture of Japan. The spectacle is nationally televised twice a week during prime time hours, not including UHF broadcasts. (Women's professional wrestling is also broadcast weekly.) Wrestlers are celebrities and appear on commercials, in advertisements, and as guests on quiz shows, cooking programs, musical programs, etc. In addition to the broadcast media, a number of so-called "sports" newspapers devote many column inches, screaming headlines and gory pictures to the bouts. (Indeed many of them got started about thirty years ago as pro wrestling sheets.) A glance at the shelves of one large book store in Osaka (Japan's second largest city) revealed about ninety titles on pro wrestling (versus about thirty for sumo.) This paper documents the popularity of Western-style professional wrestling in Japan, focusing on the early years in which it established its cultural role. -
Cable Television in Japan
Cable Television in Japan May 26, 2017 Japan Cable Laboratories Overview of Japanese Cable Television industry 2 Japanese Cable Television The first Japanese cable television station began operation in 1955, two years after Japan Broadcasting Corporation (NHK) started television broadcasting, to retransmit NHK programs to a spring resort 150 kilometers north of Tokyo. As of March 2015, cable television reaches 52.2% of Japanese households, with 29.2 million subscribers (households), of which 9.8 million subscribe to paid channels Retransmission Terrestrial TV and Broadcasting Satellite (BS) Cable Television Channels Community Channel News, sports, Local programming by movies, etc Cable TV stations Cable TV Station TV Station Video On Demand Internet & IP Telephony Fiscal year 2014 Number of Commercial Operators: 294 Total Commercial Revenues: 497.5 billion JYen 3 Yearly Increase of Cable Television Subscribers 〔10K households〕 〔Penetration %〕 3500 51.6 51.8 51.5 52.2 52.3 RF 50.4 3250 IP: MulticastRF方式 48 50 :IPマルチキャスト方 49.6 50 50.4 50.6 3000 44.9 48.8 49.8 96 ×式 Penetration 42.9 97 101 :普及率 46.7 109 98 2750 40.6 90 2852 ▲ :普及率(RFのみ)Penetration (RF) 44 2767 2817 38.2 42.3 70 2707 40 2500 2602 2656 35.9 40.3 46 2471 2250 33.2 38 23 17 2301 31.1 2194 2000 10 2061 30 26.8 1750 1913 1788 1500 21.8 1654 20 1514 1250 20 17 1300 1000 1044 943 750 789 10 500 250 0 0 101998年度 11 年度 200012年度 13 年度 14 2002年度 15 年度 162004年度 17 年度 18 2006年度 19 年度 202008年度 21 年度 201022年度 23年度 242012年度 25 年度 262014年度 272015年度 ※ 平成22年度までの統計値は、自主放送を行う旧許可施設及び旧電気通信役務利用放送法 の登録を受けた者の設備(旧有線役務利用放送設備) の加入世帯数、普及率の推移。 (Source: MIC) 4 Yearly Increase of Cable Television Revenue Total revenue 100 Million JYen (incl. -
The Emergence of the Anime Media Mix: Character
THE EMERGENCE OF THE ANIME MEDIA MIX: CHARACTER COMMUNICATION AND SERIAL CONSUMPTION BY MARC AARON STEINBERG B.A., MCGILL UNIVERSITY, 1999 M.A., MCGILL UNIVERSITY, 2002 A.M., BROWN UNIVERSITY, 2006 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF MODERN CULTURE AND MEDIA AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2009 © Copyright 2009 by Marc Aaron Steinberg This dissertation by Marc Aaron Steinberg is accepted in its present form by the Department of Modern Culture and Media as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date___________________ _________________________________ Mary Ann Doane, Advisor Recommended to the Graduate Council Date___________________ _________________________________ Philip Rosen, Reader Date___________________ _________________________________ Thomas Lamarre, Reader Approved by the Graduate Council Date___________________ _________________________________ Sheila Bonde, Dean of the Graduate School ! """! VITA Marc Aaron Steinberg was born on July 27, 1977 in Montreal, Quebec, Canada. He attended McGill University where he received his B.A. in East Asian Studies in 1999, and his M.A. in East Asian Studies in 2002. He received his Ph.D. from Brown University in Modern Culture and Media in 2009. He has published articles on the subjects of contemporary art, architecture and Japanese animation! "$! !"#"$%&'(%! )*+,"'+-*./)*/0*'(#1+2$+34+*"#5/6-&#*"4%!6"3"*/7-#&,!&$'!8%(-#59/:&4'&#(/;/<-$+('5=/ ! "#! ACKNOWLEDGEMENTS This project reached completion thanks to the help, support, advice and contributions of family, friends and professors. I would like to extend particular thanks to Mary Ann Doane and Philip Rosen for their warm welcome to Brown, their intellectual guidance, encouragement and support over the years of graduate school, and their faith in this project.