Japanese Pop Culture Research Articles

Son Gokū i Power Rangers w Galicji

SON GOKŪ AND POWER RANGERS IN GALICIA: THE USE OF JAPANESE POP CULTURE IN THE ARTWORK OF GALICIAN MURALIST YOSEBA MP My paper discusses the influence of Japanese art on Galician art. Firstly, I provide a historical overview of the Spanish Japanese relations, with particular emphasis on Galicia. Second, the analysis of the works of Galician artist Yoseba MP allows reflection on the changes generated by the application of elements of Japanese pop culture to another cultural area. I put particular emphasis on the figure of the superhero and his transformation to the local context, so as to show how the author engages in a cultural dialogue about the myth of the Galician matriarchy. Although the research part is based on the analysis of the works of only one artist, it allows new approach to Galician culture and the position of women in this society.

Analyzing the Spiritual Connotation of Japanese Pop Culture from the Course of Modernization Based on Contemporary Japanese Writers

The development of pop culture in Japan has long historical roots. Since its post-war modernization, Japan has successfully transformed itself from an old culture-importing country to a culture-exporting country. The article focuses on a number of epochal points since Japan's post-war renaissance, analyzing a number of representative Japanese authors and their works from 1945 to the present, and understanding the birth and spread of Japanese popular culture. Studies have shown that the development of Japanese popular culture has been heavily influenced by European and American culture, but has also demonstrated rebellion and reflection on past cultures and ideologies, ultimately opening up a wide range of cultural areas on this basis. The article takes the representative writers and works of contemporary Japan as the blueprint for research, and finds that Japanese pop culture has a unique rebellious character and humanistic sentiment in its spiritual connotation. In the present day, the Japanese national psyche, on the other hand, interacts and influences popular culture.

Characteristics of Japanese Social and Cultural Values from Harajuku Fashion

"Harajuku" is a representative fashion of Japanese street culture, and it has constructed the image of Japanese pop culture. This research analyzes the historical background and cultural causes behind Harajuku fashion and explains the internal and external causes of the formation and development of Harajuku fashion in terms of historical and economic backgrounds. So, the research analyzes the cultural characteristics of Japanese society from the perspective of fashion, and further reveals the logical interactions and intrinsic connections between the cultural representations and value theories. Through relevant research, it is concluded that there is a circular logical relationship between fashion characteristics and the social phenomena as their causes behind them, and it is also proposed that the establishment and dissemination of national characteristic cultural images require the operation of branding mechanisms and the value support of cultural genes. Overall, this study logically constructs and analyzes Harajuku fashion characteristics and cultural concepts, explains the national characteristics and cultural values of Japanese society from the social phenomenon, combines relevant fashion and social theories, and provides insights and reflections on the innovation and construction of the national and local cultural image and brand discourse.

Impact of the Pandemic on Event Tourism: The Resilience of Japanese Pop Culture Events

Using a theoretical framework that recognises the pervasive impact of the COVID-19 pandemic on global tourism and events, this study examines the unique complexities of Japanese pop culture events. These events, characterised by their ability to attract large audiences, especially enthusiastic youth, have traditionally flourished through interpersonal interactions. This discrepancy between the interactive nature of events and pandemic-induced measures has necessitated fundamental changes in event management strategies. However, pandemic responses and restrictions contrasted sharply with the nature of these events, posing significant challenges for event organisers. This study analyses qualitative data from seven semi-structured interviews with Japanese theme researchers, journalists, and representatives of the main events on the theme in four countries. The pandemic crisis clearly affected Japanese pop culture events, which were among the most frequently suspended. The interviewees believe that it is easy to return to the normalcy of face-to-face events because the audience for these events is predominantly young and enthusiastic, but this requires adaptations and the care that each country demands. This research sheds light on both the difficulties and setbacks that Japanese pop culture events face, as well as their ability to endure and adjust in response to difficult circumstances. By shedding insight into the complex dynamics and demographic characteristics of these events, it also enables event organisers and policymakers to develop strategies to facilitate the safe and successful recovery of similar events in the future. In addition to connecting with other studies in the event sector, this research contributes to the body of knowledge needed to develop effective responses to unforeseen obstacles by shedding light on exceptional events and their potential resilience pathways.

Japanese Pop Culture Events as Catalysts for Otaku Tourism: Shaping Destination Choices and Tourist Experiences

The otaku tourism trend represents a fusion of tourism dynamics and cultural interaction, fueled by a deep interest in Japanese pop culture, such as anime and manga. This research examines the impact of Japanese pop culture events on the development of otaku tourism. Using a mixed-methods approach, the research analyzed data from 364 questionnaires collected at events in four countries, along with semi-structured interviews with organizers. These events serve as powerful catalysts for promoting Japanese culture globally, creating immersive and memorable experiences, and inspiring participants to visit Japan. The findings highlight the key role of these events play in shaping tourist behavior, influencing destination choice, and increasing the appeal of otaku tourism. Furthermore, the study underscores the importance of these gatherings in facilitating global cultural exchange and deepening the connection between fans and Japanese culture. This research emphasizes the broader implications of otaku tourism on global tourism and cultural promotion.

Koreans’ Reception of Japanese Cultural Contents Revealed through Text Mining

This paper analyzes how Koreans perceive Japanese cultural contents and popular culture, and what kind of image they have formed of it. For this purpose, this study used the blog of NAVER, Korea’s largest portal site, as its research subject, and collected and analyzed data from it using text mining. The word frequency and N-gram analysis results of the data collected in this study are as follows. The main keywords in this data are roughly divided into a cluster representing Japanese cultural contents/popular culture, a cluster of keywords representing Koreans’ attitude toward or opportunity to access and encounter it, and a cluster of keywords representing the relationship of Japanese culture with Korean culture. In particular, the salient fact that emerges from these keywords is that the Japanese pop culture openness policy of 1998 has been a very important development for Koreans in terms of their relationship with Japanese cultural contents. In this respect, there is a tendency to think of Japanese cultural contents and popular culture from the perspective of Korea-Japan cultural exchange and the mutual understanding between the two countries. Meanwhile, the results of this study’s Sentiment Analysis showed that there were an overwhelming number of keywords expressing positive emotions in the data on Japanese cultural contents and popular culture.

The Visual Narrative of Satria Barong's Character as a Representation of the Mystical Entity of Barong Ket

This study aims to bring the aesthetic, ethical and cultural values contained in the Barong Bali entity to the audience through a modern cultural paradigm. The physical form of Barong—specifically the chosen one – is Barong Ket. Modified with a popular culture approach, specifically selected, is the Japanese Pop culture approach in terms of the concept and terminology of Tokusatsu. The modification of Barong’s form is carried out with an art creation model that involves exploratory and experimental aspects. This exploratory and experimental activity, as an initial methodological step, was carried out to find the ideal visual structure as a result of modifying the Barong Ket entity form to the Tokusastsu Barong model. Next, a narrative strategy is designed with a visual narrative approach. Reference studies were conducted to find supporting literature and audio-visual references. The supporting literature in question is related to transformative art, modification of visual forms, visual narratives, and Japanese pop culture models, especially the tokusatsu genre. The next methodological step in the creation of this art is to realize a visual narrative strategy in the form of presenting a short film performance. This process involved designing and creating art resulted in a short film with a special message delivered to each scene. Before being officially broadcast, an initial evaluation was carried out involving videographers, filmmakers and art observers as evaluators. This evaluation was carried out using a structured interview technique with the aim of exploring the research aspects to be evaluated more broadly and in depth. From the evaluation results, the short film entitled Satria Barong was feasible to be shown to the target audience with a note that there was an emphasis on detailed visual introductions.
 Keywords: visual narrative, Satria Barong, Tokusatsu

The trend of Japanese pop culture and its differentiating approach through event tourism

PurposeThis study focuses on analysing Japanese pop culture events to determine whether they may be useful marketing tools for a location with a distinctive culture from where they are organized. It also examines how the popular culture events differ from other events and what impacts they have on these destinations.Design/methodology/approachA mixed-method approach is used to analyse data from a questionnaire provided to 364 participants from these events and seven semi-structured interviews with event organizers or their representatives from events on this topic in Portugal, France, Spain, Denmark and North America.FindingsAccording to the research, these events are regarded as unique and unusual from the perspective of the customer due to the variety of activities they offer, the use of imagination they inspire and the engaged fan participation. These occasions have been found to strengthen and propagate Japanese popular culture outside of its place of origin and arouse interest in it.Originality/valueSeveral studies have examined the appeal of Japanese pop culture, but few have investigated the impact of events to enhance the destination's image where they are held, as well as their potential outside of Japan. With already over a hundred official events of this theme held annually, with a sizable number of participants, a study of this paradigm exposes its potential for promoting a culture that is growing in popularity outside of its place of origin and understanding the effects it has on these various regions.

일본 대중문화 개방정책의 현황 및 의의

일본 대중문화 개방정책의 현황 및 의의

Приоритетные направления политики «мягкой силы» Японии в XXI веке

The article analyzes the term ‘soft power’ policy, developed by J. Nye, in relation to Japan as the country with the largest resource of its application due to the need of national business to adopt foreign cultural experience. The limitations of its use in the country’s foreign policy are associated with the internal conservative orientation of Japanese culture and society, Japan’s militaristic past, demographic problems and the language barrier, as well as competition with other states. The spheres of implementation of the ‘soft power’ policy are economic, ideological, diplomatic, and cultural. According to the statements of Japanese officials, the following priority areas and goals for applying the ‘soft power’ policy in the 21st century are highlighted: expanding cooperation with the world community, including investments; promoting Japanese pop culture and promoting the national language on the world stage through educational organizations and funds. Organizations that implement ‘soft power’ policy in the country are the Ministry of Foreign Affairs, the Advisory Council, the Japan Foundation, the Japan-Russia Youth Exchange Center, etc. These organizations offer programs for academic and student exchange, acquisition of educational materials, grants for holding events and translations of different kinds of literature, attracting foreign labor to the country and developing diplomacy. In order to achieve the goal set by the Japanese government, international competitions in the Japanese language, an international exam for knowledge of the Japanese language, and Japanese centers abroad are created, financed by the state and receive various subsidies and benefits. The main feature and trump card of Japan is that the country acts within the framework of the promotion of values that are reflected in the status of the country through humanitarian assistance, a positive image of the state and positive education. In the conclusion, the authors highlight the fact that Japan managed to create a positive image of the country in the international arena; strengthen economic, political and cultural ties at different levels; reinforce the position of Japan in the world community as one of the leading countries; export the Japanese traditions and culture to other countries.

Pemetaan Restoran Jepang dan Kuliner Milenial di Surabaya

The food that a person consumes has an influence in determining identity, existence, and legitimacy. As something that is important and influential for humans, food generally has characteristics to distinguish it from other foods. In this context, Japan has uniquely Japanese food that distinguishes it from food from other countries. Therefore, Japan as one of the countries that utilizes popular culture as its export commodity uses food as a tool of cultural diplomacy. This study examines the relationship between culinary choices among millennials and gender at Japanese restaurants in Surabaya. Through an interpretative quantitative method of studying Japanese culinary culture, the data will be mapped, interpreted, and then studied in depth the relationship between culinary choices among millennials and gender in Japanese restaurants in Surabaya. The results of the study read with the concepts of Japanese pop culture, especially about shoku bunka (culinary culture) and gender. So that the output is in the form of knowledge about the existence of gender that enters the realm of food and influences the choices of young millennials in determining the food menu at Japanese restaurants in the city of Surabaya.

Script-switching in Japanese pop culture: a social semiotic multimodal approach

This article explores the nature of multimodal meaning-making in writing by analyzing the script-switching used in Japanese pop culture. Japanese intermixes multiple script systems in one text. Although official and public documents follow standard orthographic conventions, creative works in pop culture texts freely and regularly break these norms by switching script types to create new meanings. However, while many previous works recognize the semiotic effects of script-switching, to this day, there is no systematic account for how and why such meaning-making operates. Notably, script-switching triggers meanings independent of linguistic meaning. Yet, scripts are a visual manifestation of language, so one cannot say they are independent of language. Accordingly, this work attempts to resolve this dilemma by exploring a social semiotic multimodal approach (see Van Leeuwen ‘Typographic meaning’, 2005, and ‘Towards a semiotics of typography’, 2006, and Stöckl ‘Typography: Body and dress of a text’, 2005), which claims the semiotic independence of typography and its interdependency with language. By recognizing the basic unit of the writing system as graphemes, the author argues that the Japanese script systems are categorized into four types of graphemes depending on the linguistic unit they relate to and she demonstrates how the visual unit of the grapheme and the linguistic unit interact in meaning-making. In this analysis, script-switching occurs when grapheme types are intentionally changed to foreground a visual meaning associated with each script system. This article shows that such a meaning reflects the historical development and discursive social practices of writing with multiple script systems throughout the history of the Japanese writing system.

English and Spanish Adjectives That Describe the Japanese Concept of Kawaii

The word “kawaii” is ubiquitous in contemporary Japan and has spread to the rest of the world with the dissemination of Japanese pop culture. Although the word is conventionally translated in English as “cute,” its meaning is more nuanced than “cute,” and it is used for a wider variety of objects. The primary aim of this study was to determine if Spanish has an equivalent to the word “kawaii”; additionally, similarities and differences across Japanese, English, and Spanish were explored. An internet survey was conducted in which respondents from Japan ( n = 486), the United States ( n = 365), and Argentina ( n = 303) were presented with various photographic images that were often described as “kawaii” in Japanese and asked to write three adjectives to describe the images. They were also instructed to rate their affective states when looking at each image in the valence and arousal dimensions. The results showed that babyish objects (e.g., human, animal, and toy) were most frequently defined as “kawaii” in Japanese, “cute” in English, and “tierno” in Spanish. The average frequency at which these words were used as primary adjectives was higher for “kawaii” (57.5%) than for “cute” (26.8%) or “tierno” (22.4%). All of these images were associated with positive and moderately-aroused affective states similarly across all three countries. The present study demonstrates that the adjectives “kawaii,” “cute,” and “tierno” can be used almost equivalently for describing babies and pets, but that the Japanese adjective “kawaii” encompasses wider categories than the other two words.

Between Adoration and Criticism Towards Japanese Colonialism：Reception Toward <i>Murudeka 17805</i> Movie in Indonesia

This research study on how a collaborative war movie between Indonesia and Japan entitled <i>Murudeka 17805</i> (2001) is received in Indonesia. Through content analysis of the movie, it is found that this movie depicts the intimate yet hierarchical relation between Indonesia and Japan, whereas Japan acts as the elder sibling who guides and will transfer their knowledge and skills to Indonesia, so that Indonesia may be able to fight against the colonizers. This is in line with the ideology of Greater East Asian War, termed “Greater Asia Co-Prosperity Sphere.” Through the comments analysis of YouTube viewers, the result shows that there are comments expressing gratitude and adoration toward Indonesian and Japanese soldiers who had fought in the battlefield, and on the other hand there are also comments criticizing Japanese colonialization and arguing that the movie itself is a propaganda movie. The number of comments expressing gratitude and adoration and expressing neutrality by inviting the readers to forget about the past is larger than the number of comments criticizing the movie. The result of this study shows that this phenomenon is related to several factors：younger generation who never experienced Japanese occupation, the history lessons in schools which focusing more on memorizing events rather than critically reflecting on the past, the act of silencing critics toward Japan by Indonesian government in 1970s, and the massive spread of Japanese pop culture in Indonesia since 1990s. Although the number is not as high as grateful and adoring comments, comments that have critical reflection toward the movie still exists. The commentators are usually those who have heard stories about Japanese occupation in the past from the previous generation or have learned about it from various sources of knowledge.

쓰키오카 요시토시(月岡芳年)의 요괴화(妖怪画)에 내재된 원소스 멀티유스

This paper examines how Tsukioka Yoshitoshi(月岡芳年,18391892) used the method of OneSource Multi Use on his Ukiyo-e of Yōkai by focusing on the two series, <One Hundred Ghost Stories of China and Japan(和漢百物語)>(1865) and <New Forms of Thirty- six Ghosts(新形三十六怪選)>(188992). In the Edo culture, imitation and creation took place beyond the boundaries of genres to the extent that it can be said to be the origin of modern Japanese Media mix culture. In the Edo Period as a point of development of Japanese pop culture, it was intended to reconsider the Japanese culture of imitation and creation by exploring the contents of Yōkai that permeated various kinds of media with modern sense. In fact, it is found out that the work of Yoshitoshi Original did not exist in his Ukiyo-e of Yōkai. Nevertheless, Yoshitoshi's works have not become undervalued or faded today. Rather, they are newly being published and displayed in modern times. He used classics, popular literary works of the time, and materials selected in other existing Ukiyo-e. It is worth noting that his main methods used repeatedly were the use of stories and characters, and the parody of famous literary works or woodblock paintings. The method of OSMU(Media mix), which is commonly used in modern visual media, has also identified in Yoshitoshi's Ukiyo-e of Yōkai. Yoshitoshi's excogitation on visual media will still be worth exploring today in that Yōkai still has the value of merchantable quality and enables us to explore the discovery of past of the popular Edo-Meiji aspects and the possibility of utilizing cultural contents.

An Unloving Parenthood: Understanding Narcissistic Parenting through Japanese Pop Culture

An Unloving Parenthood: Understanding Narcissistic Parenting through Japanese Pop Culture

An Unloving Parenthood: Understanding Narcissistic Parenting through Japanese Pop Culture

This research discusses narcissistic parenting represented in the comic Fruits Basket by Natsuki Takaya. Narcissistic parenting is a parenting style affected by a parent’s narcissism. This parenting style doesn’t offer enough space for a child to be themselves. A parent’s narcissism causes the parent to inflict physical and emotional abuse against children. This research is a descriptive qualitative research based on the concept of narcissistic parenting written in The Narcissistic Family: Diagnosis and Treatment by Stephanie Donaldson-Pressman and Robert M. Pressman. This research discusses the effect of narcissistic parenting found in children through the relationship between characters in the text. This research found out that children who survive narcissistic parenting might develop internal problems such as lack of emotional stability, lack of confidence and self-esteem, fragile sense of identity, inappropriate desire to be the center of attention, lack of empathy, grandiosity, and tendency to justify one’s wrongdoing and commit blame-shifting.

Shakespeare in Japanese Pop Culture

Adapting Shakespeare’s literary works for introduction into Japanese popular culture has been an act of intercultural translation. Shakespeare and Japanese popular culture, particularly manga [Japanese graphic novels] could be seen as cultural polarities: the West vs. the East, as represented by Japan, a contrast between high culture and pop culture, the canonical vs. the lowbrow. Yet Shakespeare’s works as adapted in manga format do, as this article argues, problematize such hierarchical distinctions. Shakespeare found in manga can be both a challenge and a tribute to his authority, giving him a global and intercultural after-life. The first group of Japanese manga with Shakespearean motifs dates back to the early 20th century. Similar efforts have since continued through to the early 21st century, making manga with Shakespearean motifs a conspicuous, widespread phenomenon as part of Japanese pop culture. The greatest recent contribution in this regard is Manga Shakespeare Series. Published by a British publishing house, it helped to turn manga into an important vehicle for the intercultural translation of Shakespeare. This article aims at placing into perspective Shakespeare and his presence in Japanese pop culture in general and in Japanese manga in particular. Specifically, efforts will be made to introduce Japanese manga with Shakespearean motifs as a genre and show how it has become a representative intercultural art collaboration form. Western graphic novels with Shakespeare incorporated will be contrasted with Japanese manga, including Classics Illustrated, to see different levels of faithfulness to one of the world’s greatest writers. The findings indicate that while Western graphic novels tend to show a higher levels of faithfulness to the original works, Japanese manga takes greater liberty with Shakespeare. This suggests that manga with Shakespearean motifs should be viewed not as debasement of his literary authority but as creative innovation. Rather than trying to remain strictly faithful to Shakespeare’s original works, efforts should be made to identify previously overlooked aspects of Shakespeare’s works and expand the possibility of making the most of his legacy in enriching the human culture through hybridization and glocalization.

Diplomasi Publik Jepang (Studi Kasus : Budaya Pop Jepang Di Indonesia)

This thesis aims to discuss the importance of using Japanese pop culture in this case, Manga, Anime and Cosplay as part of Japanese public diplomacy in Indonesia. This discussion is divided into the MOFA (Japan Ministry of Foreign Affairs) program and the Japan Foundation as one of the actors who also carry out public diplomacy. The research in this thesis uses qualitative research methods with descriptive elaboration through the description of programs implemented such as the International Manga Award, World Cosplay Summit or even the appointment of anime or manga characters as Ambassadors (ambassadors) such as Doraemon as Anime ambassadors, the appointment of Kawaii Ambassadors and also The Cool Japan program is a program carried out to export pop culture and other commodities and content from Japan. This is intended to increase understanding and trust in Japan both in terms of politics between Indonesia and Japan, the economy and even a strategy to increase Japan's domestic tourism. From a political point of view, it can be seen through diplomatic relations with Indonesia which have existed for 60 years, and from an economic point of view between the two countries through the policy of granting broadcasting rights and licenses as well as expansion of investment by Japan which is expected to improve domestic welfare in Japan. tourism, namely increasing tourist visits to Japanese tourism which is now starting to be polished with a touch of pop culture elements such as Tokyo One Piece Tower, a theme park with the theme of the One Piece anime. So it can be said that Japanese pop culture is important for Japanese public diplomacy as a way to increase public trust and understanding outside Japan in general and especially the public in Indonesia regarding the image of Japan and gain prosperity for the Japanese domestic public.

From Cool Japan to Cold Japan: grime cyborgs in Black Britain

This article examines the overlooked phenomenon of how black British grime music artists intentionally and selectively remix Japanese pop cultural artifacts to carve out a hybrid cultural space that gives voice to their urban realities and articulates counterhegemonic black subjectivities. From the early 2000s, at the same time as state-centered discourses of ‘Cool Japan’ emerged to explain the global rise of Japanese pop culture, grime artists were already on their own terms sampling Japanese video games and anime to articulate emergent feelings of ‘coldness’, which reflects their sense of alienation on the margins of British society. The author introduces ‘Cold Japan’ as the other Cool Japan, and a way of understanding this fundamentally intertwined mode of cultural hybridity and being that forms the essence of black Britain’s grime. This article uses the cyborg figure to disclose how grime artists transform Cold Japan into a site of countercultural resistance to subvert their oppression by self-generating and embodying transgressive posthuman identities. Examining how selected ‘cold’ Japanese pop cultural elements and technologies entangle with urban black life and identity formation in 21st century Britain, the article contributes to discussions on the impact of transnational flows of Japanese pop culture and cultural hybridization.