In this thesis I will discuss the politics behind Japanese anime and manga. In particular, I will try to elucidate the motivations behind the use of Nazi-inspired characters and Nazi symbolism in...Show moreIn this thesis I will discuss the politics behind Japanese anime and manga. In particular, I will try to elucidate the motivations behind the use of Nazi-inspired characters and Nazi symbolism in popular fiction. My research will be loosely structured around Hiroki Azuma’s infamous “Otaku; Japan’s Database Animals”, in which he discusses the effects of postmodernity on the way in which fiction is produced and consumed. Starting with Hiroki Azuma’s theory on the decline of a “grand narrative” and the increased importance of “moé” in fiction, it is my goal to see if Azuma’s theory holds up against the large variety of Nazi representations in contemporary Japanese popular culture.Show less
This thesis explores how the media mix, the Japanese equivalent of the media franchise, influences the entertainment experiences of its fan audiences through a case study. It not only analyzes in...Show moreThis thesis explores how the media mix, the Japanese equivalent of the media franchise, influences the entertainment experiences of its fan audiences through a case study. It not only analyzes in what ways the anime media mix of Yuri!!! on ICE functions as a system, in which media content is dispersed and consumed in different media forms, but it also explores the ways Yuri!!! on ICE is experienced as a world of its own that is interrelated with various other existing worlds, such as the world of professional figure skating, the online and temporary (event) spaces centered on fan culture and its communities, and the various existing cities on which the world of Yuri!!! on ICE is based. By analyzing not only a specific franchise, but also the variety of texts that relate with it from different theoretical perspectives, this thesis looks for gaps that can be filled in between different but related theories on media, semiotics, culture and space, particularly on the (re)construction of arbitrarily systematized worlds (both actual and virtual) through cultural production, signification and play.Show less
When creating his main character, Arthur Conan Doyle could never have thought that centuries later the detective stories would still invoke such strong reactions. Although Sherlock Holmes has...Show moreWhen creating his main character, Arthur Conan Doyle could never have thought that centuries later the detective stories would still invoke such strong reactions. Although Sherlock Holmes has indeed been a commercial success over the past hundreds of years, it has had its struggles dealing with its popularity. The 19th century audience already practically forced Doyle to write a sequel to the novel. Since then Sherlock Holmes’ audience and their surroundings obviously have changed dramatically. Technological advancements are not the least important influencers of the original detective stories. The most recent adaptations are the Sherlock Holmes movies with Robert Downey Junior and Jude Law and the BBC series Sherlock with Benedict Cumberbatch and Martin Freeman. Both have again reached millions of fans worldwide resulting in a growing demand of new episodes. With that comes a third technological development, the Internet, where an enormous fan base was created and Sherlock Holmes got an online identity of its own. The question arises how a character and his detective stories can still be so popular today. Apart from using facts and numbers that indicate its popularity, this thesis will investigate the developments in British television that has supported the reinvention of the character of Sherlock Holmes.Show less
The post-punk period of 1979 to 1982 saw significant cultural transfer between elements of the Dutch, German and Anglo-American alternative music scenes. In the Netherlands, most of this cultural...Show moreThe post-punk period of 1979 to 1982 saw significant cultural transfer between elements of the Dutch, German and Anglo-American alternative music scenes. In the Netherlands, most of this cultural transfer revolved round the members of the ULTRA scene. ULTRA stood for “ultramodern” and promoted avant garde post-punk music that used new or unconventional instruments and performance modes. ULTRA was mainly based round weekly “ULTRA” nights at the Oktopus club in Amsterdam and the music released on the Amsterdam-based Plurex and Torso record labels; though similar scenes flourished in Den Bosch, Nijmegen and Eindhoven. ULTRA drew a great deal of its creative impulse from the art schools such as the Rietveld Academy in Amsterdam, and had close links to the both squatting and punk scenes then active in the Netherlands. However, ULTRA was transnational in outlook and often looked outside the Netherlands for inspiration and support. And a number of its most successful proponents, such as the Amsterdam band Minny Pops, garnered international critical acclaim. Using Simon Frith's principles for studying popular music (alongside content from the publication most associated with the ULTRA scene and its musicians, Vinyl magazine, as well as interviews with key actors in the ULTRA scene) the paper looks to evaluate ULTRA's cultural worth; and how its Dutch origins affected the scene in the wider rubric of international popular music.Show less
Never before in the history of popular culture has a nation been able to draw so much attention worldwide to its music, drama and movies in such a short period. From the moment that South Korea was...Show moreNever before in the history of popular culture has a nation been able to draw so much attention worldwide to its music, drama and movies in such a short period. From the moment that South Korea was forced to open its markets by the IMF and America as a result of the Asian financial crisis, their popular culture has been gaining worldwide recognition. On every continent we can find k-pop fans and Korean dramas on television. This phenomenon got the interest of the media, politicians and scholars. In this paper I’ve been trying to answer the questions who are behind the success of the Korean wave and how do they think about the Korean wave? It turns out that the Korean wave deliberately was created by the Korean government. In 1998 the government decided that the movie industry would be their key industry of growth. The idea was that the exports of movies would bring in a lot of money. The policies of the 1980s had an indirect effect on the drama and music industries. Korean entertainment companies used the popularity of Korean movies and dramas in other countries to successfully export k-pop. For entertainment companies it is essential to export their music to other countries, because the Korean music market is too small to sustain itself.Show less
Master thesis | Cultural Anthropology and Development Sociology (MSc)
open access
De thesis is een zoektocht naar de manier waarop hiphop vanaf eind jaren ’80 begin jaren ’90 in het overwegend islamitische Indonesië vorm heeft gekregen en welke rol de populaire cultuur speelt in...Show moreDe thesis is een zoektocht naar de manier waarop hiphop vanaf eind jaren ’80 begin jaren ’90 in het overwegend islamitische Indonesië vorm heeft gekregen en welke rol de populaire cultuur speelt in het dagelijkse leven van jongeren in steden. Hierbij ligt vooral de nadruk op de achtergrond, motieven en muzikale producties van de artiesten (voornamelijk rappers) die hiphop muziek en cultuur maken en uitdragen, en niet in het bijzonder op de cultuurindustrie en de jonge consumenten van zowel binnen- als buitenlandse hiphop en bijbehorende stijlen. Bijzondere aandacht gaat in de case studies naar 'islamitische hiphop' in Jakarta.Show less
