Cosmetic Japaneseness : cultural erasure and cultural performance in japanese film exports (2000-2010)
MetadataShow full item record
Since the introduction of film to Japan in the 1890s, Japanese cinema has been continually influenced by transnational processes of film production, distribution, promotion, and reception. This has led inevitably to questions about the inherent nationality of Japan’s film culture, despite the fact that Japanese cinema has often been subjected to analyses of its fundamental ‘Japaneseness’. This study seeks to make an original contribution to the field of Japanese film studies by investigating the contradictory ways in which Japan has functioned as a global cinematic brand in the period 2000 to 2010, and how this is interrelated with modes of promotion and reception in the English-speaking markets of the UK and the USA. Through textual and empirical analyses of seven films from the selected period and the non-Japanese consumption of them, this thesis argues that contemporary film exports are culturally-decentred in regards to their industrial and, to some extent, aesthetic dimensions. This results from contradictory modes of ‘cultural erasure’ and ‘cultural performance’ in the production of certain films, whereby aesthetic traces of cultural specificity are concealed or emphasised in relation to external commercial interests. Despite strategies of cultural erasure, explicit cinematic representations of cultural specificity remain highly valued as export commodities. Moreover, in the case of contemporary Japanese film exports, there are significant issues of ‘cultural ownership’ to be accounted for given the extent to which non-national industrial consortia (film producers, financers, DVD distributors, film festivals) have invested in the promotion and in some cases the production of Japanese films. Thus, both in relation to the aesthetic erasure of Japaneseness and their non-Japanese commercial identities, recent film exports can be viewed as non-national cultural products that have a commercial and cinematic identity connected to external influences as much as internal ones.
Thesis, PhD Doctor of Philosophy
Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/
Embargo Date: Print and electronic copy restricted until 13th May 2019
Embargo Reason: Thesis restricted in accordance with University regulations
Except where otherwise noted within the work, this item's license for re-use is described as Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International
Items in the St Andrews Research Repository are protected by copyright, with all rights reserved, unless otherwise indicated.
Showing items related by title, author, creator and subject.
Valuing culture : a mixed-methods approach to the comparative investigation of the roles and importance of cultural resources in Edinburgh and Dundee Pergola, Lorenzo (University of St Andrews, 2016-11-30) - ThesisIn Scotland, as the UK and internationally, publicly funded cultural organisations face a precarious future, characterised by funding cuts and a growing need to justify investments. This practical need to understand and ...
Empirical investigations of social learning, cooperation, and their role in the evolution of complex culture Evans, Cara (University of St Andrews, 2016-11-30) - ThesisThere is something unique about human culture. Its complex technologies, customs, institutions, symbolisms and norms, which are shared and maintained and improved across countless generations, are what sets it apart from ...
Talajooy, Saeed (2015-07-25) - Journal articleA study of Bahram Beyzaie and Wole Soyinka’s works reveals how in two disparate cultural settings, traditional structures and themes appear in modern forms to renegotiate people’s cultural identity. Both writers demythologize ...