ASIA IN FOCUS West confirms what is normal. West what is confirms orientalism. By using this framework of Japan as bizarre, the phenomenon can beunderstood with athird model: wacky increasingly judges Japan and its people as weird and this most notably in popular culture and the media. The West there is anew framework through which Japan is perceived, first century, these two models are still applicable but that techno-orientalism. This claims paper that in the twenty- of orientalism:are models two traditional orientalism and case of Japan, academics have tended to agree that there understand how these kinds of representations work. In the concept of orientalism has been used by scholars to better wacky Japan wacky Keywords: (1978) and Japan is set aside as the Other. Since Edward Said’s has been problematic, the West is considered the norm, The way that Japan has been represented in the West WAGENAAR WESTER A new face of orientalism Wacky Japan: Orientalism Orientalism; popular culture; techno-orientalism; traditional orientalism; was published in the late seventies, the 46 ISSUE 3 - - - - - When observing a foreign country, it is natural natural is it country, foreign a observing When article relatively servesThis this understand to to the onlooker’s own culture. By framing Japan and and Japan framing By culture. own onlooker’s the to nor its confirms thus West the weird, as people its malcy. sense, this as, in value face at strangeness find to Yet, different. are another and country own one’s a popular As further. goes it Japan of case the in in a meme practically “[i]t’s states: article media know, you But, insane. are Japanese The West: the vend liquor and squid-penises all - insane loveably One 2012). M., & Yosomono, (Davis, machines” ing perception this of prevalence the of manifestation an became PSY artist Korean South when that is Gangnam phenomenon with internet international were clip video and dance song, the (2012), Style not was strangeness but this as strange, perceived before a year when Yet, Korea. South to attributed single major first Pamyu’s Pamyu Kyary J-pop star (WarnerPonPonPon Music Japan, went viral, 2011) under to seemed video the on commenters many was it and Japan weird of lens the through it stand sup the of example another just as perceived thus people its and country the of strangeness posed (Michel, 2012). ori an within it explaining by Japan of image new of concept the and establishing framework entalist wacky orientalism. I touch upon the scholarly works on traditional orientalism and techno-orientalism, West the models common most and known two the two these out lays essay This Japan. at gaze to uses how depicting examples and provides conceptions practice, in work orientalism of these embodiments 47 ------as a new Nowadays, popular articles on Japan often often Japan on articles popular Nowadays, apan, the country of samurai, robots and … … and robots samurai, of country the apan, per been long has Japan porn? tentacle ceived by the West as a traditional society society a traditional as West the by ceived

nological progressiveness. In academia these two two these academia In progressiveness. nological tra as understood are country the of perceptions respec and techno-orientalism orientalism ditional academics by used still are models both and tively, of representations Western common understand to Marchart, 2014; Holt, 2015; Goto-Jones, (e.g. Japan seduc of images of power The 2013). McLeod, 1998; cutting-edge warriors, geisha, fierce samurai tive thus, are, salarymen hard-working and technology ori of mode a third yet scholars, by understood well been has not established yet. entalism weird supposed its by country the characterize vending panty used of myth the ness, discussing Tele The 2016; (Ashcraft, cafes cuddle or machines “WTF as such Ja captions addition, In 2016). graph, phrase crude rather the for abbreviation (an pan” “What The Japan”) Fuck regularly accompany im English-speaking the in strange ages considered the in that argues paper This internet. the part of per West, the of media and discourse popular that and prevalent are weird as Japan of ceptions I orientalism. of form a as be understood can these wacky for case orientalism the make thus the by at gazed is Japan which through framework of act the is orientalism here, understood As West. a such in different radically as cultures perceiving respect in pejoratively them hierarchizes it that way

filled with geisha and samurai, until this image got got image this until samurai, and geisha with filled tech of symbols other and robots with entwined J ASIA IN FOCUS until the beginning of the Second World War, the of isolation. As Jenny Holt remarks, from the 1850s of most Western countries when it ended its policy Japan became an orientalist object in the discourse Traditional orientalism techno-orientalism. and orientalism traditional on two of types orientalism when referring to Japan: statedAs above, reached has academia consensus the West’s Others (Morley &Robins, p. 1995, 147). about five centuries now, Japan has been among There is not just one Other for the West though; for inferior Other without allowing it to speak for itself. supposedly superior West creates its identity of the orientalism an uneven is power balance, where the ining of the Other. Embedded in the framework of of its identity by mirroring itself against its imag matter of Us and Them, where the Us shapes parts West and not an actual place (Said, 1978). It is a As such, the Orient is atextual construction of the ofty the West differentiating itself from the East. made and exist as away to strengthen the identi the Orient and Occident are to considered be man- course, as both geographical and cultural regions, ded in supposedly objective texts on the Orient. Of usually not consciously, done instead is but embed their understanding of the East (the Orient). This is for the West (the Occident) to shape and impose thority over the Orient”. In other words, it is away for dominating,style restructuring, having and au As Said (1978, p. 3) states, orientalism is a“Western Orientalism two and of Japan models Japan. on Western media in dominant used by everyone, but that these can said be to be the frameworks of orientalism are discussed not centric view of Japan. It is important to note that pan and Ithus purposefully lean towards aWestern the essay is limited to Western perceptions of Ja problematize this form of orientalism. of The scope Lastly, I media. different and culture popular from entalism. develop I the concept through examples providing the framework for what Icall wacky ori ------48 and admiration,and this but usually is centered around is and should There be. is also room for fascination what is beautiful and what is not, and what Japan writers who decide what Japan’s characteristics are, decides the identity of the country. It is Western mechanism where the West dominates Japan and is understood as aesthetic yet menacing conceals a (Benedict, 1946, p. 2). timid, conservative hospitable and to new ways” around,pushed loyal treacherous, and brave and and adaptable, submissive and resentful of being taristic and aesthetic, both insolent and polite, rigid gree, both aggressive and unaggressive, both mili to Benedict, “[t]he Japanese are, to the highest de ‘chrysanthemum’, as well as the ‘sword’. According and ended up writing in binaries: Japan was the Japanese behavior in order to predict their actions to understand Japanese the and Japan search Sword in 1946 in the and her book The Chrysanthemum and popularized by anthropologist Ruth Benedict exotic. and mysterious more Japan rai. This perceived ambiguity only served to make against violent terms like kamikaze, ninja and samu ceremony, woodblock prints and zen can pitted be As such, exotic keywords like geisha, kimono, tea elegant qualities, or through the martial culture. characterizedbe either in terms of its aesthetic, pan focused on two approaches: the country could Japan. of nowadays consider to the traditional be orientalism ture and fetishized its people. This is the context we cul traditional its aestheticized and exotic features observers tended to focus on Japan’s perceived usually connected to non-western Western others, of attributing many of the negative characteristics works of Lafcadio Hearn (Holt, 2014, p. 37). Instead (1898)Luther Long’s and the Butterfly Madame texts on every aspect of Japan, among which John Anglophone literary marketplace with got flooded The dichotomy notably was most emphasized . She was tasked by the US military to re The stereotypical framework in which Japan Japan which in framework stereotypical The In general, the Western imagination of Ja ------ISSUE 3 ------Japanesetechnological prowess has increas techno-orientalism,Through theWest man with Europe and the United States in terms of tech of terms in States United the and Europe with emerged. Since orientalism of a form new nology, condescendingJapan of image traditional the apply not did society lessbackward or more a as p. (1995, Robins Kevin and Morley David anymore, be is techno-mythology new “a that argued 168) has become synonymous “Japan wherein spun”, ing screens, future—with the of technologies the with networks, cybernetics, robotics, artificial intelli discourse, new this describing In simulation”. gence, techno-orientalism. term coined the they and identity, Japanese with associated been ingly Japa exotic of a form embody also technologies its rac and a resentful is there Yet particularism. nese West, the of eyes the In discourse. this to side ist in artificial with obsession an has only not Japan “dehu is itself society the robotics, and telligence Techno-oriental 259). p. 2013, (McLeod, manised” society, a cold as Japan of idea the reinforces ism efficient soulless, like are themselves people where machines serving under anauthoritarian, bureau The 169). 1995, p. & Robins, (Morley culture cratic as the Japan presents discourse techno-orientalist anx is there so, Even capitalism. of future dystopian the Robins, and Morley to According envy. and iety are “Japanese the where image possesses an West replicants. and cyborgs are they aliens; unfeeling are mutants these that sense the also is there But (Morley future” the in survive to adapted better now 170). 1995, p. & Robins, over supremacy cultural and assert moral to ages country the of a conception enforcing by Japan humanity. lacking and robot-like as people its and own our of a mirror is Japan perhaps suggested, As projections, techno-orientalist Through anxieties. Where stereotypes. fortifies and creates West the be dichotomy the concerns usually as orientalism here civilized, as Us and barbaric as Them tween (Morley human” remain ‘we’ while robots “‘they’ are 172). 1995, p. & Robins, 49 ------(2003) patroniz (2013) brought (2013) the Despite the name, traditional orientalism Despite orientalism the name, traditional (Golden, 1997; Marshall, Marshall, 1997; (Golden, a Geisha of Memoirs

Against the backdrop of the 1980s, with the rise of of rise the 1980s, with the of backdrop the Against up catching Japan and power economic Japanese Techno-orientalism tween Japan and the West is traditionally framed as as framed traditionally is West the and Japan tween process a of instead West, the of absorption Japan’s an was Japonism of style The ways. both goes that rare is this but aesthetic, Japanese the of imitation and adoption imitation, ly described, Japan’s while and ideas technologies Western of reinterpretation 18). p. 1991, (Holborn explicitly mentioned often is di equal no was there that argue can we Therefore, Jap that and West the and Japan between alogue the to a threat considered not was culture anese & Robins, Morley 2001; (Lie, West the of integrity 148). 1995, p. blossom, cherry of Images today. itself manifests still Jap “uniquely supposedly other and kimono in girls anese” symbols still deemed are an essential part of the Japanese (Goldstein-Gidoni, culture material is imagery similar culture popular Western In 2001). and novel geisha escapist and exotic The evoked. movie example serves asexcellent an example, for 2005), 2001). (Allison, practice in orientalism traditional of The Samurai Last Zwick’s Edward moderniz teaching Westerner a white depicts ingly recently More traditions. its honor to how Japan ing The Wolverine James Mangold’s American superhero movie genre Japan. to Besides fight scenes locales in and Japa as such temples are we fashion, nese typical in gardens, orientalist who girl Japanese a beautiful Mariko, to introduced father dying her succeeding for choice first the is cre her movie the In company. tech their to heir as leader or businesswoman as a competent dentials a of role the plays she instead and shown not are Amer the by rescued get to only distress, in damsel (2013, Napier J. Susan Japanologist As Logan. ican, American is it clear: is message “The notes, 8) para. safe”. woman Japanese the keeps that masculinity decaying traditions. In addition, the dialogue be dialogue the addition, In traditions. decaying ASIA IN FOCUS through imposing its stereotypical images of the attempts by Western countries to dominate Japan talism techno-orientalism and considered be can endeavors bothConscious traditional not, or orien Wacky orientalism: athird model masked characters, is enforced” (original in Dutch). an anonymous emotionless mass, robots or exotic (2015, para. 8) notes, the notion of the “Japanese as ing of the 2011 Triple Disaster, Jocelyn van Alphen in entertainment. In the photos used in the report ited to the depictions of Japan and the Japanese of her American creator. These views are not lim she is repeatedly humiliated and follows the whims by Japanese actress Sonoya Mizuno. In the movie, (2015), the robot most devoid of humanity is played Machina Ex thriller fiction science Alex Garland’s such conceptions of Japan still persist today. In lence of techno-orientalist views in the but 1980s, takers of society” (DeYoung, para. 1983c, 2). signed to work cheaply and endlessly, are the care future where Japanese manufactured robots, de 2) and album liner notes stating the “present a ...is pan, Iam the modern man” (DeYoung, 1983b, para. am, machine or mannequin, with made parts in Ja society through lyrics like “you’re wondering who I Japan’s dehumanizing and technology Japanese The song quite literally criticizes the prevalence of boto), which became a catchphrase in the eighties. arigatō, Mr. Roboto” (thank you very much, Mr. Ro the iconic electronically produced phrase “dōmo track 1). The chorus of the song is characterized by Mr. Roboto by the rock (DeYoung, band Styx 1983a, conception of techno-orientalism the is hit song Ken McLeod (2013) points out, another prevalent formity against afuturistic Japanese backdrop. As McLeod, 2013). Both play on fears of hyper-con vid Morley & Kevin Robins, 1995; Goto-Jones, 2015; liam Gibson’s novel Neuromancer are Ridley Scott’s Runner film Blade subject of Western imagining of techno-orientalism The examples usually provided by academics on the

The examples above point to the preva (1984) (e.g. Da (1982) and Wil ------

50 and slices of bread with eyes float mid-air. Before comes out of her ear before ending in her hands, surreal images dominate the screen. Kyary’s cane ing in aplayroom with heaps of colorful props, while 2011), Japan, Kyary Music PonPon stand (Warner is Inseas. the video clip of her first major single Pon image without appealing directly to audiences over it. J-Pop star Kyary Pamyu Pamyu catered to this actively looking for it, it is natural to seeing start for this side ‘wacky’ of Japan, but when you start is aconfirmation bias at work. Some tourists search sists. central a is orientalism element of how wacky per Thisrate understanding superfluous. then becomes knowledge”,enough striving and more for a accu culture or anation, they will believe that they have argues that “[o]nce people form an impression of a discourse in the West. Chikako Nihei (2009, p. 89) lus-shaped goods to normal be is not of apart the might also nese not consider the purchasable phal as weird is enforced as aresult. That some Japa the background and the stereotype of Japanese stand the Shintō fertility festival are then moved to Rainbow,Alliance to under 2016). attempts Serious and captions like and “because “WTF” Japan” (e.g. derstood through images and videos with headings ly Festival of the Steel Phallus), for example, are un (literal Kanamara Matsuri the at shrines portable on browsing when served the internet. pink Huge phalli cause Japan” Japan” or “WTF can regularly be ob regarding Japan. orientalism of form This is also the case for wacky orientalism, the third tile soil for the perpetuation of certain stereotypes. the West speaks for the subject. This provides fer where the voice of the Other is ignored and instead Orientalism an uneven on based is power structure, as backward,try violent and inhuman on the other. hand, are accompanied by portrayals of the coun with regards to technological advancements, on one tion for elements of the traditional culture and envy country, depicting it in an inferior fashion. Admira As is the case with the orientalism is case As in general, there For over adecade, ‘memes’ such as “be ------ISSUE 3 ------(2005-pres (2009), an episode from season 5 of the the 5 of season from episode an (2009), Central to wacky orientalism is the unilateral unilateral is the wacky to orientalism Central Conclusion coun any in abnormal considered things are There by understood is this Japan, of case the in but try, framework. psychological a certain within West the West the wacky for article orientalism, argues This a narrative as ‘weird’, as Japan of perception ern traditional how to Similar mold. orientalist the in the function, and techno-orientalism orientalism a unilat is Japan and West the between dialogue rather Japan for speaks West the where one eral Japan Thus, voice. own its have to it allowing than chal to able being it without weird, as framed is this from itself differentiating By image. that lenge There normalcy. its confirms West the strangeness, peo Firstly, here. a role playing elements three are of understanding a better get to want not do ple fun be as not would it for see, they ‘weirdness’ the a confir is there Secondly, did. they if anymore ny for search Westerners where work, at bias mation even though people who are into these games are a a are games these into are who people though even playing men young Despite Japan. in minority small the over all genre sim dating the of games video to devoted was documentary the fifth one of world, of notion the reinforce to serving only subject, this 102–103). p. 2014, (Hinton, Other weird the as Japan as Japan imagining By projection. its of direction norm the strengthens and creates West the weird, possess a voice not does Japan normal. is what of the by imposed narrative this of creation the in of example One it. change really it can nor West, Changing Beeson’s Charles is culture popular in this Channels American dramaseries Supernatural ent), where the main characters, Sam and Dean, find find Dean, and Sam characters, main the where ent), Answering show. game a Japanese in themselves scro the in a hit by punished them sees incorrectly Japanese a scantily-clad and machine, a by tum show the of host the remind to serves only woman two the Tellingly, crisps. certain of tastiness the of American protagonists the are only ‘normal’ ele setting. Japanese absurd the in ment 51 ------On the other hand, there is also a certain a certain also is there hand, other On the on narrative the that note to important is It amount of catering towards this image. This is not not is This image. this towards catering of amount entirely the unlike self-orientalization visible in lu men 1980s, Japanese the In fluid. is Japan wacky are they today yet hypersexual, as regarded were differ the of Regardless hypo-sexual. supposedly anese thus might have a better understanding of of understanding a better have might thus anese something sees it West, the for on. As going is what unintentionally thus Kyary and exotic and strange they what exactly with audiences Western provided Japan think them made that “something wanted: with case the is As 2012). (Michel, weird” is really traditional- and techno-orientalism, most of the of minds the from emanates Japan of perception the make to unwilling or unable are who Westerners just is It 428). p. 2014, (Larabee, intelligible culture way. that remains weird supposed the when funnier Japanese self-presentations contemporary crative kind (Goldstein-Gidoni, orientalist traditional the of sells. supposed simply strangeness Japan’s 2001). Shinjuku in Restaurant Robot the is example An women on sci-fi scantily-clad where contraptions charac dressed-up other and robots with interact from reactions of thousands the from ters. Judging a TripAdvisor, website tourist on popular foreigners - “quintes be the would Restaurant Robot the to visit guests sential mainly Japanese are Yet, experience”. To in out night a typical hardly is it and foreigners kyo (Bradbury, 2013). Japanese that is media the in line bottom the ence, documen BBC2 the is example An strange. are men (Holdsworth Japanese” We’re Please, tary“No Sex ex It 2013. October 24 on broadcasted first 2013), men two Only population. declining Japan’s plores hour-long the in interviewed are age pension below or girls virtual in interest men’s Japanese program. of be one to purported is games simulator dating decline, population country’s the for causes root the starting her singing career, Kyary modeled in the the in modeled Kyary career, singing her starting clothes of mix eclectic Her scene. fashion Harajuku - acces strange the and fashion Harajuku fact in are Jap the and industry this reflect props and sories ASIA IN FOCUS strategy. East Asian region, pop culture tourism and business are sociology in Japan, international relations in the at Uppsala University. His primary areas of interests Wester Wagenaar hentai nating from Japan on the internet. Most notably, material origi pornographic of popularity the be orientalism Possible to came explanations be. could tions, it to is necessary find out how this form of quired. Firstly, to better understand how it func tered to because it sells. weirdness. Thirdly, this stereotypical image is ca common elements in Japanese everyday life. orientalismwacky are depicts usually un outliers, through orientalism wacky a framework. The things pan these supposedly strange things are not seen Western and the Japanese perception is that in Ja this is the case. At least one differencebetween the tative research is required to find out to what extent their own culture are bizarre, and extensive quanti Japanese themselves might think elements some of thisfit image. Secondly, Ihave suggested that the considered products for kids and erotic ones do not ing. Even in today’s Western societies, cartoons are Further research orientalism wacky on re is (erotic cartoon material), tends to shock be is an MA student of Euroculture ------52 ISSUE 3

- 67–90. United , 89–108. [Vinyl LP]. Santa Monica: A&M. A&M. Monica: Santa LP]. [Vinyl 53 New York: Ace. York: New [Motion Picture]. Universal Pictures. Picture]. [Motion [YouTube video]. Retrieved from https://www.youtube.com/watch?v=JkZ from Retrieved video]. [YouTube

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