Abstract
This article reports an experiment to pursue appropriate observation method on fictional entities inside popular culture products from Japan: two dimensional characters, fictional characters in a movie. Previous research showed how Indonesian popular culture producers being empowered in production, as fictional entities involved, such as “Hatsune Miku” (HM), a virtual singer persona. This article focused on older cases where media Japan travelled to Indonesia. Back in 1989, a TV action serial "Kamen Rider Black/ Ksatria Baja Hitam" (KRB/KBH) from Japan, was broadcasted by Indonesian local television station RCTI, and dubbed in Indonesian language. The experiment on finding appropriate observation method is conducted by constructing frameworks, imagined as ‘dissecting’ fictional entities into smaller observable parts. The purpose of this paper is to map methods to examine the role of non-human entities under transnational media by evaluating through early stage experiment.
Highlights
Is a description story of days together with popular fictional entities in Indonesia: A brief introduction and some reflections of living in the nineties as children.“A warm and bright Sunday morning in 1990
If a researcher would investigate a fictional entity under transnational media context, there are challenges, especially as Hatsune Miku (HM) and KRB are fictional and perceived differently by each human producers and consumers participants
Biography had by Hatsune Miku (HM), is a part that can be observed partially as a persona
Summary
Is a description story of days together with popular fictional entities in Indonesia: A brief introduction and some reflections of living in the nineties as children. If a researcher would investigate a fictional entity under transnational media context, there are challenges, especially as HM and KRB are fictional and perceived differently by each human producers and consumers participants. Biography had by Hatsune Miku (HM), is a part that can be observed partially as a persona This kind of ‘biography’ in the first stage should be thought as something different from the one described in “Social Life of Things”: not yet a commodity, but rather recognized as it is, a fictional character born from ‘his’/’her’ producer. While the media itself came from Japan by nullifying Japan stereotypes, Indonesian producers and consumers of HM preserved her “animation and comic illustrations from Japan” look: hairstyle, turquoise “Miku” colors These parts are what affected them in the first place, as it represents “Japan” they embraces through its popular culture in Indonesia.
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
