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 thesis discusses the question of how an understanding of Japanese politics and culture affects the popularity of Ghibli films with a political message, and what this means for the efficacy of...Show moreThis thesis discusses the question of how an understanding of Japanese politics and culture affects the popularity of Ghibli films with a political message, and what this means for the efficacy of Japan’s pop-culture diplomacy. One of the goals of MOFA’s 2006 pop-culture diplomacy is to further the understanding of Japan by disseminating culture, but it does not seem to have the desired effect. To discuss this I have used a reception study using reviews by US and Japanese reviewers. The movies discussed are both by Isao Takahata, one of Studio Ghibli's founders and main directors. The movies are Pom Poko and Grave of the Fireflies. To set the stage I have discussed literature on Ghibli films and domestic politics, cultural heritage and history of Japan. Some key theories are Koichi Iwabuchi's fragrant/odorless theory on culture, Joseph N. Nye's soft power theory and Douglas McGrays's "Japan's Gross National Cool", which has been adapted by the Japanese government as their Cool Japan campaign. To test the efficacy of the dissemination of Japanese culture, politics and history to garner understanding overseas, online reviews were used. Using a content analysis on the reviews I have studied the main points and opinions reviewers from both countries have on both movies. Using Koichi Iwabuchi's odorless/fragrant theory I have then explained why there are differences in appreciation of the movies. These differences in appreciation and understanding prove that MOFA's 2006 pop-culture diplomacy does not work well as it does not attain the goal of gaining understanding of Japanese culture.Show less
