Idols and Celebrity in Japanese Media Culture

Springer
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This is the most complete and compelling account of idols and celebrity in Japanese media culture to date. Engaging with the study of media, gender and celebrity, and sensitive to history and the contemporary scene, these interdisciplinary essays cover male and female idols, production and consumption, industrial structures and fan movements.
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About the author

DANIEL BLACK Lecturer in the School of English, Communications and Performance Studies at Monash University, Melbourne, Australia LUCY GLASSPOOL Ph.D. candidate in the Graduate School of Languages and Cultures at Nagoya University in Japan ALEXANDRA HAMBLETON Ph.D. candidate in the Graduate School of Interdisciplinary Information Studies at the University of Tokyo, Japan AOYAGI HIROSHI Professor of Asian Studies at the School of Asia 21 of Kokushikan, University in Tokyo, Japan HO SWEE LIN Assistant Professor in the School of International Studies at The Catholic University of Korea JONATHAN D. MACKINTOSH Lecturer in Japanese Studies at Birkbeck, University of London, UK W. DAVID MARX Chief Editor at the web journal Néojaponisme (http://neojaponisme.com) KAZUMI NAGAIKE Associate Professor at the Center for International Education and Research at Oita National University in Japan IGOR PRUSA Ph.D. candidate at the Graduate School of Interdisciplinary Information Studies at the University of Tokyo, Japan.
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Additional Information

Publisher
Springer
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Published on
Aug 30, 2012
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Pages
239
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ISBN
9781137283788
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Language
English
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Genres
Performing Arts / Theater / General
Performing Arts / Theater / History & Criticism
Social Science / Anthropology / Cultural & Social
Social Science / General
Social Science / Media Studies
Social Science / Sociology / General
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With the spread of manga (Japanese comics) and anime (Japanese cartoons) around the world, many have adopted the Japanese term 'otaku' to identify fans of such media. The connection to manga and anime may seem straightforward, but, when taken for granted, often serves to obscure the debates within and around media fandom in Japan since the term 'otaku' appeared in the niche publication Manga Burikko in 1983.

Debating Otaku in Contemporary Japan disrupts the naturalization and trivialization of 'otaku' by examining the historical contingency of the term as a way to identify and contain problematic youth, consumers and fan cultures in Japan. Its chapters, many translated from Japanese and available in English for the first time – and with a foreword by Otsuka Eiji, former editor of Manga Burikko – explore key moments in the evolving discourse of 'otaku' in Japan. Rather than presenting a smooth, triumphant narrative of the transition of a subculture to the mainstream, the edited volume repositions 'otaku' in specific historical, social and economic contexts, providing new insights into the significance of the 'otaku' phenomenon in Japan and the world.

By going back to original Japanese documents, translating key contributions by Japanese scholars and offering sustained analysis of these documents and scholars, Debating Otaku in Contemporary Japan provides alternative histories of and approaches to 'otaku'. For all students and scholars of contemporary Japan and the history of Japanese fan and consumer cultures, this volume will be a foundation for understanding how 'otaku', at different places and times and to different people, is meaningful.
The Viewpoints is a technique of improvisation that grew out of the postmodern dance world. It was first articulated by choreographer Mary Overlie, who broke down the two dominant issues performers deal with—space and time—into six categories. Since that time, directors Anne Bogart and Tina Landau have expanded her notions and adapted them for actors to function together spontaneously and intuitively and to generate bold, theatrical work.

The Viewpoints are a set of names given to certain principles of movement through time and space—they constitute a language for talking about what happens on stage. Coupling this with Composition, which is the practice of selecting and arranging the separate components of theatrical language into a cohesive work of art, provides theatre artists with an important new tool for creating and understanding their art form.

Primarily intended for the many theatre artists who, in the last several years, have become intrigued with Viewpoints yet have had no single source to refer to in their investigations. It can also be used by anyone with a general interest in collaboration and the creative process, whether in art, business or daily life.

Anne Bogart is Artistic Director of the SITI Company, which she founded with Japanese director Tadashi Suzuki in 1992. She is the recipient of two OBIE Awards and a Bessie Award, and is an associate professor at Columbia University. Her recent works include Alice’s Adventures; Bobrauschenbergamerica; Small Lives, Big Dreams; Marathon Dancing; and The Baltimore Waltz.

Tina Landau, noted director and playwright, whose original work includes Space (Time magazine 10 Best), Dream True (with composer Ricky Ian Gordon) and Floyd Collins (with composer Adam Guettel), which received the Lucille Lortel Award for Best Musical, an OBIE Award and seven Drama Desk nominations. She has been an ensemble member of the Steppenwolf Theatre Company since 1997.

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