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Asian Digital Cultures Conference
Anne Allison (Duke University, Department of Anthropology): Digitality,
Affect, and Home: Net-Cafe; Refugees in Japan
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Anne Allison (Duke University, Department of Anthropology): Digitality,
Affect, and Home: Net-Cafe; Refugees in Japan
Workshop on Popular Culture, Cultural Policy, and Cultural Discourse in East and Southeast Asia, June 1-2, 2009, the Hebrew University of Jerusalem
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Workshop on Popular Culture, Cultural Policy, and Cultural Discourse
in East and Southeast Asia, June 1-2, 2009, the Hebrew University of
Jerusalem
The workshop on Popular Culture, Cultural Policy, and Cultural
Discourse in East and Southeast Asia, will be held at the Hebrew
University of Jerusalem, Israel. The purpose of this workshop is to
conduct a comparative and multi-sited study of the emergence of the
popular cultural industries of East and Southeast Asia, examine the
corresponding cultural policies initiated by the various states in the
region, and construct an empirically-plausible framework to examine
related issues. The workshop will particularly focus on the cases of
Chinese, Japanese, and Korean poplar cultures: their emergence,
expansion to other markets in the region, and the discourse they
create.
Panel 1: Popular Culture, Regionalization, and the State
1. Amitav Acharya, American University,
"Culture, Regionalism and Southeast Asian Identity"
2. Galia Press-Barnathan, the Hebrew University of Jerusalem
"Does Popular Culture Matter to International Relations Scholars?
Possible Links and Methodological Challenges"
3. Nissim Otmazgin, the Hebrew University of Jerusalem
"A Tail that Wags the Dog: Cultural Industry and Cultural Policy in East Asia"
Commentator: Arie Kacowicz, the Hebrew University of Jerusalem
Panel 2: Cultural Flows and Soft Power
1. Chua Beng Huat, National University of Singapore
"Delusional Desire: Soft Power and TV Dramas"
2. Jean Marie Bouissou, Science-Po
"From Niche Market to Hypermarkets: The Birth, Growth and Maturation
of the French Manga Market"
3. Eldad J. Pardo, the Hebrew University of Jerusalem
"The Comeback of Iran's Z $B{ (Brkh $Bb (Bneh: Ancient Heroes in the Global Age"
Commentator: Eyal Ben Ari, the Hebrew University of Jerusalem
Panel 3: Cultural Policy in the Making
1. Kozuka Souichirou, Sophia University
"Copyright Law as a Tool of New Industrial Policy?: Japan's
Unsuccessful Attempt to Promote its Contents Industry"
2. Kukhee Choo, Tokyo University of Foreign Studies
"Cool Japan Nation: Japanese Governmental Policy towards the Anime Industry"
3. Jung-Yup Lee, University of Massachusetts, Amherst
"Managing the Transnational, Governing the National:
Cultural Policy and the Politics of "Cultural Archetype Project in South Korea"
Commentator: Ehud Harari, the Hebrew University of Jerusalem
Panel 4: Cultural Industry and Cultural Discourse
1. Miki Daliot-Bul, Haifa University
"The New 'Japan Brand': Cool Japan as Zeitgeist"
2. Pang Laikwan, the Chinese University of Hong Kong
"Censorship against Ghosts: China's Cultural Policy Historicized"
3. Kwai Cheung Lo, Hong Kong Baptist University
"Historical Tensions in East Asian Popular Culture and the Roles of the State"
Commentator: Chua Beng Huat, National University of Singapore
Panel 5: Cultural Production and Social Change
1. Marwyn S. Samuels, the Hebrew University of Jerusalem
"The Media Industry, Popular Culture and Social Change in Contemporary China"
2. Shin Hyunjoon, Sungkonghoe University
"Trans/National Cultural Industries as an Agency of Regionalization?
The Case of South Korea"
3. Cherian George, Nanyang Technological University
"Silence and Protest in Singapore's Censorship Debates"
Commentator: Nir Avieli, Ben-Gurion University
Panel 6: A Comparative Perspective: Popular Culture in the Middle East
1. Wael Abu-Uksa, the Hebrew University of Jerusalem
"State and New Media in the Middle East: An Overview"
2. Sariel Birnbaum, the Hebrew University of Jerusalem
"Historical Audio-Visual Dramas: From Egyptian Dominance to a Pan-Arab
Satellite Discourse"
3. Tal Shenhav, the Hebrew University of Jerusalem
"Broadcasting the Future Generation: Gender Messages for Women and
Youth in Saudi Arabia, Jordan and Tunisia"
Panel 7: Concluding Comments and Open Discussion
Peter J. Katzenstein, Cornell University
Eyal Ben Ari, the Hebrew University of Jerusalem
For further information and registration please contact Dr. Nissim
Otmazgin at nissimot@mscc.huji.ac.il
Japanese art, culture and society symposia
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For two Fridays in a row, researchers discussed the impact of popular Japanese culture on society and art in two separate, but related, symposia.
Host of the March 6 symposium, Satoshi Ikeda (left) talks with Marc Steinberg, who spoke on anime figurines and art during the March 13 symposium. Currently a post-doc at McGill, Steinberg will join the Faculty of Fine Arts this summer.
The March 6 event took a sociological perspective, while the March 13 event explored the impact of anime and manga on contemporary artistic practice.
Osamu Tezuka in Occupied Japan
By Takeshi Tanikawa, presented at Culture, Literature, Science and Technology: Research Using Prange Collection Resources, A Symposium Sponsored by the Gordon W. Prange Collection, September 21, 2006
Economic competitive advantage and cultural exports: how Japan got round cultural distance to claim global leadership in comic book publishing
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H-JAPAN
April 5, 2009
From: David Slater <d-slater@sophia.ac.jp>
Graduate Fieldwork Workshop
April 18th, 2009
Sophia University (Yotsuya Campus)
http://www.fla.sophia.ac.jp/about/location.html
Bldg. #10, room 301
10 am-noon
-----------------------------------------------------------------------------------------------
Title: Economic competitive advantage and cultural exports: how
Japan got round cultural distance to claim global leadership in comic
book publishing.
Julien Vig
(Sociology MSc candidate at Hitotsubashi University and
research student at the Institute of Innovation Research)
ABSTRACT:
Since the 1990s, the joint influences of nation branding efforts and the
increasing globalization of the economic and technological contexts
within which media organizations operate have brought upon an era
where America's dominant position as an exporter of contents is
becoming increasingly challenged by new entrants, often industrial
consortia backed by state agencies. Serious contenders may include
India's Bollywood movies, Brazil's telenovelas, or South Korea's array
of dynamic entertainment industries. Yet beyond the cultural significance
of the phenomenon, their actual export performance only qualifies them
as cultural niches when compared to the incumbent transnational American
corporations, whose distribution monopolies and market power make their
economic control of global flows a reality that remains hardly escapable.
Japan, however, distinguished itself by securing global leadership in no less than three content industries. In videogames, animation and comic books, it stands out a leading exporting country, boasting impressive trade surpluses with America and Europe. There is a solid, established interdisciplinary body of international literature dedicated to Japan's videogame industry, and the anime industry has been similarly attracting increasing attention in the past ten years. The comic book industry on the other hand, arguably because of its limited legitimacy and economic significance outside the $4bn+ Japanese domestic market, remains largely understudied except for comic book and popular culture scholars.
An overlooked specificity of the comic book industry stems from the most peculiar pattern of globalization it has experienced. From the 1950s onwards, the United States, France and Japan each developed their own publishing paradigm and standard formats: *comic book*, *album* and *manga*. These path-dependent creative and industrial trajectories would hardly interact until the second half of the 1990s. After their late encounter, Japanese manga emerged as the undisputed winner, reaching shares of about 1/3 of total comic book sales in value in both France and America in 2007.
This achievement has interesting theoretical implications. On the one hand, media scholars showed that the primary vehicles for the development of * contra-flows* (defined as non-Western media flows which counter the previously established one-way information flow from western to non-west countries) are geographic, cultural or linguistic regionalism; yet this framework cannot account for how Japanese manga could succeed in Western markets, as none of the above patterns seems to apply. On the other hand, management scholars, in the dominant models of firm- and industry-level internationalization, accept as a prerequisite that agents are actively and strategically trying to internationalize; yet Japanese manga publishers long maintained a passive attitude towards market expansion outside of Asia.
Drawing upon fieldwork in France and Japan, international comparisons of industry data and evidence from a consumer survey conducted in France in December 2008, my research aims to uncover the economics at work behind the success of Japanese manga on the global comic book scene. What are the conditions for the emergence of sustainable contra-flows? The study of Japan's prominent success in exporting domestic contents may hold the answer to this question and provide a blueprint for later entrants in the global cultural market.
--
David H. Slater, Ph.D.
Faculty of Liberal Arts
Sophia University, Tokyo
The Sophia server rejects emails at times. Should your mail to me get
returned, please resend to: dhslater@gmail.com. Sorry for the inconvenience.
Seminar on Anime and Contemporary Japanese Society
While anime is being watched on a global scale, there are significant differences in its contemporary reception. The gap between regular consumers and critical spectators, sometimes appearing in the form of Japanese audiences vs. foreign Japanologists, deserves special attention since it raises a number of questions, such as what sort of animated film is identified as anime; who relates anime to politics, history and society; what kind of meaning is at play in anime's performative images, and to what extent one can read "Japanese society", or even "culture", out of anime.
SOFT POWER, HARD TRUTHS / Japan's global power: soft or wilted? : DY Weekend : Features : DAILY YOMIURI ONLINE (The Daily Yomiuri)
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<!-- google_ad_region_start=region1 -->In Boston recently, a journalist asked me: Is Japan really doing anything with its "soft power," or is it just a lot of talk
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With a few notable exceptions, the explosion of interest in Japan's pop cultural exports has been ignited by foreigners' passions and sustained by Internet accessibility. The phenomenon is largely demand-driven, a product of quality content being sought and consumed by overseas fans, academics and artists. Japanese pop culture is being pulled into foreign markets far more than it is being pushed.
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