"How can the onryō tradition help us interpret the contemporary phenomenon of cutesified onryō parodies?" Through analyzing the emergence and appeasement of three distinct historical types of onryō...Show more"How can the onryō tradition help us interpret the contemporary phenomenon of cutesified onryō parodies?" Through analyzing the emergence and appeasement of three distinct historical types of onryō, the context necessary for understanding the place of the 'cutesified onryō' will take shape. Next, some examples of this new onryō will be discussed to see what the recurring themes are. And lastly, a more in-depth case study of a manga centered around a cutesified onryō will be carried out. It will be argued that cutesification functions not only as a form of appeasement, but also as 'domestication'. The onryō’s history of empowerment and role-breaking is subverted as they are forced back into gendered societal roles.Show less
This thesis provides an analysis on the J-horror film Kairo (Kurosawa Kiyoshi, 2001) and Studio Ghibli's Pom Poko (Takahata Isao, 1994) and their connection to the concept of furusato. Furusato, a...Show moreThis thesis provides an analysis on the J-horror film Kairo (Kurosawa Kiyoshi, 2001) and Studio Ghibli's Pom Poko (Takahata Isao, 1994) and their connection to the concept of furusato. Furusato, a nostalgic longing for the countryside as metaphorical "old home", is expressed very differently in these films: while Pom Poko heavily emphasises this nostalgia, furusato is implicitly present in Kairo through its absence.Show less
This article uses the Japanese otome game (video games for women) as an example to examine the exoticism during cultural exchanges in this current globalized world. This article mainly argues that,...Show moreThis article uses the Japanese otome game (video games for women) as an example to examine the exoticism during cultural exchanges in this current globalized world. This article mainly argues that, even though we are getting in touch with cultural products such as video games that contain the mixture of global cultures, what attracts most of the people is the ‘exoticism’; which indicates that what seems to erase or blur cultural borders in a globalized world is actually enlarge and emphasize on the cultural differences. By carefully analyzing four otome games that based their stories outside Japan, this article shows how most of the foreign elements are used 'exteriorly' in these Japanese products. The article ends up with an elaboration on similar cases in other cultural aspects, which indicates that the chase of exoticism is rather common all over the world. It is difficult to be certain of whether the cultural gap under globalization is narrower and wider than before, but instead of the convergence, the diversity of cultures is probably more emphasized in the contemporary world.Show less
This thesis seeks out to explore the differences and similarities between how Japanese, Chinese and Western Lolitas consume the fashion. By using previous academic works on Lolita Fashion,...Show moreThis thesis seeks out to explore the differences and similarities between how Japanese, Chinese and Western Lolitas consume the fashion. By using previous academic works on Lolita Fashion, accompanied by books magazines, blogs, posts on social media in various languages, the Japanese, Chinese and Western Loilta communities are exposed. Lolita fashion, which originates from Japan, has spread to countries all over the world. While in the first place the overseas communities tried to adapt Lolita in its “true form”, factors like local culture, aesthetics and availability has resulted in differences between the three regions. For example Japanese and Chinese Lolitas find model-influence more important than event-influence, while for Western Lolitas it is the other way around. As Western brands therefore also lay more of a focus on sales at events instead of hiring famous Lolita models for a photoshoot, this could be the reason why Western brands do not do it well in Japan and China. Chinese brands on the other hand do it well all over the world. Trends started by Chinese Lolitas are also being adapted in Japan. Chinese Lolitas even have gained so much influence that Japanese brands, which still carry a symbolic status in all the three Lolita communities, are adapting their sales to the wishes of Chinese Lolitas. It could therefore be concluded that while Japan is still the main source of influence in how Lolita fashion is consumed, China has become just as important in recent years. While Japan and China are reacting to each other, the West is merely adapting Japanese and Chinese influences to their local communities.Show less
This thesis illustrates the close connection between relevant Japanese social problems within contemporary work of anime and manga from the seinen genre. Through the use of the popular culture...Show moreThis thesis illustrates the close connection between relevant Japanese social problems within contemporary work of anime and manga from the seinen genre. Through the use of the popular culture theory and the concept of hegemony in conjunction with the integrated approach of genre studies, this thesis defines part of the seinen genre regarding its connection to the representation of social problems. Discussing the historical connection between the seinen genre and social turmoil in the Japanese society from the 1950s, and discussing the seinen manga and anime ReLife as a case study, this thesis aims to show that anime and manga, in particular the seinen genre, evolved dynamically. The connection between relevant social and political debate makes the seinen genre an important ideological arena for the Japanese society and is an important part of the evolution of the seinen genre. The continues interplay between the genre and society has enabled the seinen genre to provide us with relevant views and criticism of contemporary Japanese society.Show less
