An authority on Japanese and American pop culture examines the influence and popularity of Japanese animation in the U.S., discussing the American experience with anime and manga, from the epics of Hayao Miyazaki to the growing influx of hentai, a form of violent, pornographic anime. Reprint. 10,000 first printing.
Contemporary Japanese pop culture such as anime and manga (Japanese animation and comic books) is Asia's equivalent of the Harry Potter phenomenon--an overseas export that has taken America by storm. While Hollywood struggles to fill seats, Japanese anime releases are increasingly outpacing American movies in number and, more importantly, in the devotion they inspire in their fans. But just as Harry Potter is both "universal" and very English, anime is also deeply Japanese, making its popularity in the United States totally unexpected. Japanamerica is the first book that directly addresses the American experience with the Japanese pop phenomenon, covering everything from Hayao Miyazaki's epics, the burgeoning world of hentai, or violent pornographic anime, and Puffy Amiyumi, whose exploits are broadcast daily on the Cartoon Network, to literary novelist Haruki Murakami, and more. With insights from the artists, critics, readers and fans from both nations, this book is as literate as it is hip, highlighting the shared conflicts as American and Japanese pop cultures dramatically collide in the here and now.For more information visit http://www.japanamericabook.com/
Globalization, Localization, and the Film Scoring Practices of Joe Hisaishi
Author: Alexandra Christina Roedder
Category: Animated film music
Between 1984 and 2013, Japanese film composer Joe Hisaishi (b. 1950) has scored ten feature-length animated films for one of Japan's most respected animators, Hayao Miyazaki (b. 1941). In those forty years, while many of the basic elements of his style did not change, his film scoring practices in terms of placement, timing, and audiovisual synchronization underwent a dramatic shift away from a historically Japanese practice to a historically American one. Historically, Japanese anime music comes from a production model wherein music is written prior to animation and added in later. This, and the love of silence that many major Japanese film directors seem to possess has led to a generally asynchronous, sparse scoring practice. In Hisaishi's case, this meant long, unbroken melodies usually tested on each film's pre-release "image album," and then modified somewhat for the film soundtrack. American film scoring, in contrast, has historically been tightly bound to the visuals, subservient to narrative and dialogue, and frequently highly synchronized, to the extent that the term "mickey-mousing" has emerged as a description of film music which matches isochronically and isomorphically both the timing and shape of the actions on screen. To understand and explain this change, I explore Hisaishi's body of work for Miyazaki within a framework of soft power and evolutionary constraints, positing each new film score as the result of specific, if unknown, influences. Because film composers write their music "to order" (Akira Senju, interview, 2012), each project is dependent upon the success of the last, and composers are constantly learning what tactics and practices lead to continuing work: cultural evolution in the non-teleological sense. American film music has exerted a gentle but consistent influence on Japanese composers, many of whom admire Hollywood soundtracks and find them extremely effective (Senju, 2012; Kuriyama, interview, 2012). In response to this influence, in the past thirty years many Japanese film scores, not just Hisaishi's, have drifted towards a Hollywood style of scoring. At the same time, Japanese anime has, since its first flowering in the 1960s, been desired by Americans: first by industry who attempted, and failed, to market it to television audiences in the 1960s and 70s; then by fans who imported VHS tapes and subtitled shows themselves, often at extraordinary cost; and now again by industry with the signing of the global distribution agreement between Hayao Miyazaki's Studio Ghibli and the Walt Disney Company in 1998. Each of these elements of soft power have been a factor in the growing globalization of film music. Hisaishi's scores for Miyazaki's films serve as an excellent case study of transnational cultural flows. I combine close analysis of each film with fieldwork, including interviews with Hisaishi and several of his contemporaries, to trace the evolution of what I believe to be the end of national film music styles.
Chinese and Japanese Restaurants in the United States
Author: Bruce Makoto Arnold
Publisher: University of Arkansas Press
Category: Social Science
The essays in Chop Suey and Sushi from Sea to Shining Sea fill gaps in the existing food studies by revealing and contextualizing the hidden, local histories of Chinese and Japanese restaurants in the United States. The writer of these essays show how the taste and presentation of Chinese and Japanese dishes have evolved in sweat and hardship over generations of immigrants who became restaurant owners, chefs, and laborers in the small towns and large cities of America. These vivid, detailed, and sometimes emotional portrayals reveal the survival strategies deployed in Asian restaurant kitchens over the past 150 years and the impact these restaurants have had on the culture, politics, and foodways of the United States. Some of these authors are family members of restaurant owners or chefs, writing with a passion and richness that can only come from personal investment, while others are academic writers who have painstakingly mined decades of archival data to reconstruct the past. Still others offer a fresh look at the amazing continuity and domination of the “evil Chinaman” stereotype in the “foreign” world of American Chinatown restaurants. The essays include insights from a variety of disciplines, including history, sociology, anthropology, ethnography, economics, phenomenology, journalism, food studies, and film and literary criticism. Chop Suey and Sushi from Sea to Shining Sea not only complements the existing scholarship and exposes the work that still needs to be done in this field, but also underscores the unique and innovative approaches that can be taken in the field of American food studies.
This book provides a reflexive critique of the assumptions of orthodox HRD research and practice and questions the conception of humans as resources, as well as the conventional performative focus of HRD. Examining the broader social, political and economic contexts, the book offers alternative perspectives for considering both the needs of individuals and the sustainable development of organizations in post-industrial economies.
The Historical Dictionary of United States-Japan Relations traces this one hundred and fifty year relationship through a chronology, an introduction, appendixes, a bibliography, and cross-referenced dictionary entries on key persons, places, events, institutions, and organizations. Covering everything from Walt Whitman's poem, A Broadway Pageant, commemorating the visit of the Shogun's Embassy to the U.S. in 1860, to zaibatsu, this ready reference is an excellent starting point for the study of Japan's dealings with the U.S.
Unconditional Defeat-the second book in a Pacific War trilogy that is part of SR Books' Total War series-examines the concluding stages of World War II in Asia and the Pacific, from November 1943 until September 1945. Thomas W. Zeiler argues that this "war without mercy" could only come to one conclusion: the complete, unconditional defeat of Japan by a mobilized, overwhelming, vengeful United States. Zeiler describes these final 22 months of the Pacific War as a story of contrasts. While the U.S. launched a methodical, smothering attack with all the means at its disposal, Japan fought a fierce yet hopeless defense with diminishing supplies. By November 1943, Japan lacked the necessities not just for victory, as in the earlier phases of the war, but for adequate defense. The Japanese had no options. The strategic planning rested with the Americans. Zeiler's gripping and thorough overview discusses other contrasts between the two foes. The Americans planned multiple advances in the Pacific Ocean and on the Asian mainland. They used a massive number of troops, devised and adopted new amphibious techniques, and deployed the new nuclear category of weapons. The Japanese stubbornly but desperately clung to their territory, often with the basest of defenses. By August 1945, the United States' forces at sea, on land, and in the air had brought Japan near complete defeat. In addition, the Japanese Empire was diplomatically isolated. Japanese politics was in turmoil, the government faced rebellion, and the Emperor stood on the brink of extinction. Wracked by the destruction of the homeland from the air and blockade by sea, Japanese society veered near chaos and the people peered into the abyss of an uncertain future. In the meantime, America's military had experienced such horrors at the hands of Japan that the U.S. made the difficult decision to unleash the atomic bomb. Despite the stark differences between the U.S. and Japan, argues Zeiler, there was one aspect of the war that both sides held i
This book looks at how future leadership is being forged in educational institutions in the Old World, the New World, and the most powerful nation in modern Asia. In a detailed comparative analysis of 40 secondary schools that can be expected to produce many future leaders, Duke examines the role of educational styles in shaping the character traits, attitudes, and perceptions that will ultimately influence leadership qualities. He argues that Japan's traditional and unchanging educational method is producing leaders who will be inadequately prepared to deal with the enormous international responsibilities and complex bilateral relationships that await the Asian superpower in the 21st century.