For the past decades, the more modernized Asian popular culture had been catching up with the world and gained huge influence globally. Young Asians, who were previously attracted by Western popular cultures, have then been looking back to Asian cultural products, with which they have more of a connection. Within Asia, you can find some Japanese teenagers are learning Korean in the hope to become a trainee in a S.
Korean entertainment agency that may help them to become a star. Young Chinese are following S. Korean TV shows because of the romantic promise it gives: Even an ordinary girl can grab the attention of a tall and handsome conglomerate heir.
Young people from Vietnam and Thailand are sitting in front of the television every night to follow a historical Chinese drama, indulging themselves in ancient China's delicate costumes and complicated love affairs between former emperors and their concubines. The spread of Asian popular culture highlights the changing attitudes of the younger generation of Asians to their neighbors.
Through the shared interest in popular culture, those Asian countries effectively form positive relationships with one another since a common ground found in music and movies can certainly engender a sense of goodwill for one another. Besides, the spread of Asian popular culture brought huge economic gains. Take the Korean Wave a collective culture encompassing everything from music, movies to drama for example: the Korean Wave contributed 0.
More recently in , the Korean Wave had an estimated Besides the traditional Korean and Japanese popular culture, there are some waves of newly emerging Asian cultural products in the region, which not only generated economic gains but also enriched the entertainment sector.
Pop culture, though, has always occupied a singular place in Japan's expression of selfhood and otherness, providing vicarious experiences of life within Japan. Today, Japanese popular culture's global influence is felt most keenly in movie culture, animation, television, the Internet, social media, music, fashion, and comics manga , to name but a few fields and technologies.
Indeed, visual culture, specifically television and movies, with a strong emphasis on animation anime and manga, led the first wave of Japanese pop-culture exports in the second half of the twentieth century.
Since then, academic interest in these exports, both at home in Japan, and overseas, has developed rapidly. The second wave of Japanese popular culture followed the digitization of much of the global media: rapid communications, global connectedness, and the development of new media have provided platforms on which Japanese pop culture has been presented and critiqued, engaged, and transformed.
More complex, more hybrid, and more sophisticated, the relationships between Japan and the rest of the world are often given voice through new readings and interpretations of the interconnected popular cultural world. The assembled articles in Volume I of this new Routledge collection of major works provide a comprehensive overview of the postwar history of Japanese popular culture. Topics include the emergence of popular culture as an academic field in Japan; the genesis of manga and anime; analyses of various cultural artefacts and phenomena, such as censorship and popular culture during the postwar occupation; the s origin of kawaii culture; and street fashion in the s.
Over the last decade especially, the transnational presence of Japanese popular culture has accelerated, and with it scholarship on Japanese popular culture has grown in depth and diversity. Collectively, the volume demonstrates the complex and heterogeneous nature of the Japanese pop-culture landscape in the twenty-first century.
The final volume in the collection addresses broader issues associated with Japanese popular culture and globalization. As Japan sought to boost its international 'soft power' via a 'Cool Japan' strategy, the academy began to pay serious attention to the political-economic implications of Japan's pop-culture exports.
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