Japan Pop!: Inside the World of Japanese Popular CultureTimothy J. Craig M.E. Sharpe, 6 Ιουν 2000 This is a fascinating look at various forms of Japanese popular culture: pop song, jazz, enka (a popular form of ballad genre music), karaoke, comics, animated cartoons, video games, television dramas, films, and idols -- teenage singers and actors. As pop culture not only entertains but is also a reflection of society, the book is also about Japan itself -- its similarities and differences with the rest of the world, and how Japan is changing. Relations between the sexes, shifting gender roles, social and family life, Japan's cultural identity, and views on love, work, duty, dreams, war and peace, good and evil, beauty and ugliness, life and death -- all are cast in a revealing light by Japanese pop culture as presented in this book. The authors are all specialists on their subjects, and in addition to analyzing Japan's pop culture they give the reader a direct taste through the presentation of story plots, character profiles, song lyrics, manga (comics) samples, photographs and other visuals, as well as the thoughts and words of Japan pop's artists, creators and fans. The book features 32 pages of manga plus 50 additional photos, illustrations, and shorter comic samples. |
Περιεχόμενα
| 3 | |
| 27 | |
The Marketing of Tears Consuming Emotions in Japanese Popular Song | 60 |
Open Your File Open Your Mind Women English and Changing Roles and Voices in Japanese Pop Music | 75 |
A Karaoke Perspective on International Relations | 101 |
Japanese Comics and Religion Osamu Tezukas Story of the Buddha | 109 |
The Romantic Passionate Japanese in Anime A Look at the Hidden Japanese Soul | 138 |
Hadashi no Gen Barefoot Gen | 154 |
A New Kind of Royalty The Imperial Family and the Media in Postwar Japan | 222 |
Into the Heartland with Torasan | 245 |
Sailor Moon Japanese Superheroes for Global Girls | 259 |
Beauty Fighter Sailor Chemist | 279 |
Doraemon Goes Abroad | 287 |
Pop Idols and the Asian Identity | 309 |
About the Contributors | 327 |
Credits for Photographs and Illustrations | 331 |
Gender Roles and Girls Comics in Japan The Girls and Guys of Yukan Club | 171 |
From Sazaesan to Crayon Shinchan Family Anime Social Change and Nostalgia in Japan | 186 |
New Role Models for Men and Women? Gender in Japanese TV Dramas | 207 |
Credits for Song Lyrics | 335 |
Index | 339 |
Άλλες εκδόσεις - Προβολή όλων
Japan Pop: Inside the World of Japanese Popular Culture: Inside the World of ... Timothy J. Craig Περιορισμένη προεπισκόπηση - 2015 |
Japan Pop: Inside the World of Japanese Popular Culture: Inside the World of ... Timothy J. Craig Περιορισμένη προεπισκόπηση - 2015 |
Japan Pop!: Inside the World of Japanese Popular Culture Timothy J. Craig Περιορισμένη προεπισκόπηση - 2000 |
Συχνά εμφανιζόμενοι όροι και φράσεις
American appear Asahi Shimbun Asia Asian Atom audience authenticity blues Budda characters Chibi Maruko-chan comic books Crayon Shin-chan create Crown Prince cute Doraemon dreams emotions English enka episode ethnic fans feel female Figure films Fuyuhiko Galaxy Express 999 gender genre girl hero human image alliance Imperial Family Isono Japa Japan Japanese comics Japanese culture Japanese idols Japanese jazz Japanese manga Japanese Popular Japanese television Japanese television dramas jazz artists karaoke Kunaichō lives magazines male manga and animation marriage Michiko Miwa modern mother movie musicians nese Nobita Noriko Osamu Osamu Tezuka permission play pop idols popular culture popular music postwar Power Rangers Princess production reproduced robot role romance Sailor Moon Sazae-san Schodt Seiko Matsuda Seishirō Shin-chan Shōnen Shueisha social songs story superhero Tezuka theme Tokyo Tora-san traditional TV dramas University viewers wedding Western wife woman young Yukan Club Yūri
Δημοφιλή αποσπάσματα
Σελίδα 34 - They were my kind of people. And I was going to learn their music and play it for the rest of my days. I was going to be a musician, a Negro musician, hipping the world about the blues the way only Negroes can.
Σελίδα 34 - I knew that I was going to spend all my time from then on sticking close to Negroes. They were my kind of people. And I was going to learn their music and play it for the rest of my days.
Σελίδα 27 - All you need is the feeling. If you have the feeling, you could eat Skippy peanut butter and play the blues right. And if you don't have that feeling, you could eat collard greens and all that so-called Negro food all the time and sound corny.
Σελίδα 46 - It is not enough to write Japanese-sounding compositions using Western forms and harmonies. Those who have tried to do so have had no real or lasting success. The purpose of the composer, first of all, must be to write good music, and this we are not likely to have through mere rearrangement of traditional music for Western instruments. Something new, but at the same time fundamentally Japanese, must be created.
Σελίδα 58 - Measured by the standards of modern civilization, they would be like a boy of twelve as compared with our development of forty-five years.
Σελίδα 46 - The purpose of the composer, f1rst of all, must be to write good music, and this we are not likely to have through mere rearrangement of traditional music for Western instruments. Something new, but at the same time fundamentally Japanese, must be created. . . . Western musical forms are based on Western ideals of logic and symmetry.
Σελίδα 57 - Authenticity and Originality in Jazz: Toward a Paradigm in the Sociology of Music," Journal of Jazz Studies, Vol.
Σελίδα 34 - Gleason, who raised the issue definitively, at least for white liberals in the late 1960's, saying: [T]he blues is black man's music, and whites diminish it at best or steal it at worst. In any case they have no moral right to use it.