East Asia has been stuck in a political and historical struggle over the remembrance of World War 2, referred to mostly as the East Asian History Dilemma. Within this dilemma, different historical...Show moreEast Asia has been stuck in a political and historical struggle over the remembrance of World War 2, referred to mostly as the East Asian History Dilemma. Within this dilemma, different historical perspectives towards World War 2 between the East Asian nations and their World War 2 heritage play a central role. Performing a discourse analysis on the opening speeches of Japan's Annual Memorial Ceremony to Commemorate The War Dead, this thesis sheds light on the historical perspectives present in Japan towards World War 2.Show less
By thinking of Miku and other Vocaloid voicebanks as instruments, the possibility arises to look more closely at what dwells beneath the surface of the virtual idols. Vocaloid is often associated...Show moreBy thinking of Miku and other Vocaloid voicebanks as instruments, the possibility arises to look more closely at what dwells beneath the surface of the virtual idols. Vocaloid is often associated with Japanese nerd (otaku) culture, though this association is often based on the virtual idols’ semblance of anime characters. Besides the adoration of Miku, the Vocaloid community is in fact characterized by “obscured identities, animated music videos,” songs with “lyrics that describe a more downcast view on modern life – with mostly all of it taking place on the Internet” (St. Michel 2021). Through these characteristics, which are also strongly associated with otaku culture (Azuma 2009; Condry 2013; Morikawa 2012), it becomes clear that Vocaloid music is actually related to otaku culture. This is particularly evident in Vocaloid’s history, seeing as it first gained popularity in an environment heavily populated by otaku. It can thus be said that Vocaloid music stems from otaku culture, of which even traces can be found in the way in which Vocaloid music is consumed, as well as the visual and lyrical content of the songs. From this perspective, this thesis will examine the way in which Vocaloid music is related to otaku culture beyond the image of Miku. It will provide a fitting overview of the history of Vocaloid music and place it into the context of otaku culture, followed by a qualitative analysis of several Vocaloid music videos. This will demonstrate the way in which Vocaloid music still refers to otaku culture.Show less
This thesis explores the ways in which the Japanese actress and singer Kaji Meiko embodies the image and the voice of the female action heroine through her roles as Matsushima Nami in "Female...Show moreThis thesis explores the ways in which the Japanese actress and singer Kaji Meiko embodies the image and the voice of the female action heroine through her roles as Matsushima Nami in "Female Prisoner 701: Scorpion" (1972) and Kashima Yuki in "Lady Snowblood" (1973). Chapter 1 offers a narrative analysis of both films by examining various story elements and how they reinforce, critique, or comment on social and political issues at the time they were released. This includes questions of gender and sexuality brought to the fore by Kaji's portrayals. Chapter 2 presents an analysis of the lyrics of the two theme songs Urami Bushi and Shura no hana, performed by Kaji Meiko herself, through the lens of Frith's 'song as a speech act' approach. Kaji's unique delivery can be considered “yakusha no uta”, an extension of her acting. Her performance of the songs contributes to deepening the film’s narrative and adds a layer to her characters' complexity. What sets Kaji apart from her contemporary actors is that her characters represent more complex representations of women in action films. Kaji's artistic involvement during the design process of her characters and her versatile acting brought both the characters of Matsushima Nami and Kashima Yuki to life as unconventional women who were strong and resilient, carrying the actress to stardom.Show less
Queerness and Queer Culture has been present in China for centuries, though most has been forgotten or disregarded. Wuxia dramas in the last ten years have started to include Queerness in a Chinese...Show moreQueerness and Queer Culture has been present in China for centuries, though most has been forgotten or disregarded. Wuxia dramas in the last ten years have started to include Queerness in a Chinese context while keeping Queer culture in a Chinese perspective despite state media censorship. This thesis shall analysis how Chinese Queerness is percieved and disaplyed within Wuxia dramas.Show less
Despite the great efforts taken by the South Korean government to preserve the once highly regarded folk art, p’ansori is quickly becoming less relevant in Korean daily life. Nevertheless, a band...Show moreDespite the great efforts taken by the South Korean government to preserve the once highly regarded folk art, p’ansori is quickly becoming less relevant in Korean daily life. Nevertheless, a band called LEENALCHI was able to score a hit in 2020 with their song “Tiger is Coming”. The song is based on a p’ansori epic and is sung in p’ansori style, but it contains a twist. LEENALCHI creates fusion music, which is music that combines Korean traditional music and contemporary music. With their ‘new’ version of p’ansori, LEENALCHI is gaining much popularity in Korea and they are now the face of both the Korean Tourism Organization as well as several brands. Their presence in the Korean entertainment industry thus ensures that p’ansori, which was facing extinction despite the support of the Korean government, has once again become part of lived Korean culture. This thesis tries to examine how LEENALCHI is able to repurpose p’ansori and consequently popularize a form of intangible cultural heritage that has been struggling to keep up in relevance. In doing so, this thesis establishes how intangible cultural heritage can be repurposed even when preservation seems to become increasingly complicated.Show less
