Paradoxical Japaneseness: Cultural Representation in 21st by Andrew Dorman

By Andrew Dorman

This book offers insightful research of cultural illustration in eastern cinema of the early twenty first century. The influence of transnational creation practices on motion pictures such as Dolls (2002), Sukiyaki Western Django (2007), Tetsuo: The Bullet Man (2009), and 13 Assassins (2010) is taken into account via textual and empirical research. the writer discusses contradictory different types of cultural illustration – cultural concealment and cultural functionality – and their courting to either altering practices within the eastern movie and the worldwide movie marketplace. Case reviews keep in mind well known genres resembling J Horror and jidaigeki interval movies, in addition to the paintings of well known filmmakers Takeshi Kitano, Takashi Miike, Shinya Tsukamoto and Kiyoshi Kurosawa.

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Extra info for Paradoxical Japaneseness: Cultural Representation in 21st Century Japanese Cinema

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CULTURAL SPECIFICITY AND GLOBALIZATION 41 In mukokuseki animation, setting and subject matter adopt a distinctly European ambience: Taiyo no ko daiboken/Little Norse Prince (Isao Takahata, 1968) appropriates the imagery of Norse mythology; Arupusu no shoujo/Heidi, a Girl of the Alps (Isao Takahata, 1974) is, as its English title indicates, a Japanese version of Johanna Spyri’s Swiss novel; Rupan Sansei: Kariosutoro no shiro/Lupin III: The Castle of Cagliostro (Hayao Miyazaki, 1979) takes as its geographical settings Monaco and the fictional European nation of Cagliostro; Kyuketsuki hanta D/Vampire Hunter D (Toyoo Ashida, 1985) presents a world in which Swiss and German architecture is combined with the inherent Europeanness of vampire legends; like Little Norse Prince, Amon Saga (Yoshikazu Oga, 1986) appropriates visual elements of Norse mythology; while Kari gurashi no Arrieti/Arrietty (Hiromasa Yonebayashi, 2011) adapts Mary Norton’s 1952 English novel, The Borrowers.

In producing a range of economic and cultural products, Japan becomes a CULTURAL SPECIFICITY AND GLOBALIZATION 45 brand in itself, although, as Iwabuchi, Napier and Hoskins and Mirus all suggest, the consumer’s appreciation of Japanese products does not necessarily take into account their national origin.  367) Indeed, Japanese cultural specificity has become a part of the global currency in the sense that cultural features are concealed or emphasized in response to the burgeoning overseas market for Japanese products.

Globalization, whether it is seen in the diffusion of global corporations or the flow of popular culture, underlines the porousness of national spaces and national identities by making their inherent ‘hybridity’ much more pronounced. The continual growth of corporations, businesses and brand iconography has a homogenizing impact. Established names like Sony, Samsung, Nokia, McDonald’s, Coca-Cola and Emirates imprint their brand iconography (in the form of advertisements, office complexes and sponsorship).

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