Pan-pan Girls: Humiliating Liberation in Postwar Japanese Literature

This paper looks at some literary representations of the ‘pan-pan girls’ in postwar Japan. ‘Pan-pan’ is a derogatory term for street prostitutes who (mostly) served the soldiers of the occupying forces. Immediately after World War II, the Japanese government established the RAA (Recreation Amusement Association) and employed several thousand women to provide sexual services for foreign soldiers, ostensibly to protect Japanese women of middle and upper classes from rape and other violence. When the RAA was closed down in 1946 due to the US concern over widespread VD, many of the women who lost their jobs went out on the street and became private and illegal prostitutes – the pan-pan girls. With their red lipstick, cigarettes, nylon stockings and high-heel shoes, often holding onto the arms of tall, uniformed American GIs, the ‘pan-pan girls’ became a symbol of the occupation, and have been textually reproduced throughout the postwar period. This paper analyses the images and representations of the ‘pan-pan girls’ in postwar Japanese literature, to consider how the ‘pan-pan girls’ have functioned as a metaphor for the occupation and contributed to the public memory construction of the occupation. I identify some major codes of representations (victimisation, humiliation, and national trauma; eroticism and decadence; sexual freedom and materialism) and argue that the highly gendered and sexualised bodies of the ‘pan-pan girls’ have continued to allow simplistic and selective remembering of the occupation at the expense of recalling the pivotal role of Japanese patriarchy in the postwar period

Japanese Popular Culture in the Twentieth Century

Japanese popular culture has developed in many unexpected and fascinating ways. From contemporary pop culture's beginnings in the shadow of the Second World War and the earlier China campaign, Japan's sense of identity has been contested, challenged, reconsidered, restructured, and revived through multiple popular media. 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 1970s origin of kawaii culture; and street fashion in the 1980s. Volumes II and III, meanwhile, focus on the twenty-first century. 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. The themes explored in these volumes include the role of digital technology in popular culture; esoteric cultural artefacts and activities, such as loli fashion, maid cafés, otaku culture, and traditional music reinvented as pop, as well as more conventionally popular products such as anime, TV drama, and shojo manga. 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. The soft-power rhetoric has become a significant marker of popular culture in Asia in particular, and Japan's influence regionally has been explored from a number of angles. Along with seminal pieces from Nye, Huat, and Iwabuchi, authors in the first section of Volume IV examine the rise of Japan's pop-culture industry, and investigate the socio-economic and political-economic implications of topics such as 'the Japan Brand', 'Cool Japan', and 'Cute Japan'. In the second section, case studies of soft power are brought to the fore, and analyses of the implications for people and culture are developed. Collectively, the materials gathered in this volume demonstrate the highly mobile and complex nature of the globalization of Japanese popular culture

Sushi reverses course: Consuming American sushi in Tokyo

Sushi, not long ago a quintessentially Japanese product, has gone global. Japanese food, and sushi in particular, has experienced a s urge in international popularity in recent decades

Hating \u27The Korean Wave\u27 comic books: a sign of new nationalism in Japan?

The internet has become an increasingly influential medium throughout East Asia. In this article we examine the case of Kenkanryu (\u27 Hating \u27The Korean Wave\u27 ), a manga published in 2005 in hard copy, but available online as a web comic for many months prior to print publication. We argue that the content, while nationalist, xenophobic, and \u27toxic\u27 is only one of a number of other, media-related reasons for the sales success of this comic in Japan. Other factors are the influence of online chat groups, the web as a means of communicating and selling ideas and products, and the internet-savvy way in which supporters of the views expressed in the comic communicated with online readers. In the context of increasing fears that Japanese youth are becoming more \u27nationalistic\u27 we argue that it is important to examine the medium as much as the message in assessing whether we are witnessing the emergence of a significant and dangerous social movement, or something rather different

Support for UNRWA's survival

The United Nations Relief and Works Agency for Palestine Refugees in the Near East (UNRWA) provides life-saving humanitarian aid for 5·4 million Palestine refugees now entering their eighth decade of statelessness and conflict. About a third of Palestine refugees still live in 58 recognised camps. UNRWA operates 702 schools and 144 health centres, some of which are affected by the ongoing humanitarian disasters in Syria and the Gaza Strip. It has dramatically reduced the prevalence of infectious diseases, mortality, and illiteracy. Its social services include rebuilding infrastructure and homes that have been destroyed by conflict and providing cash assistance and micro-finance loans for Palestinians whose rights are curtailed and who are denied the right of return to their homeland

インターネットを活用した自主グループ間の情報ネットワークの構築

『地域を基盤とする看護教育への変革』が平成19年度文部科学省「現代的教育ニーズ取組支援プログラム」に選定され、グループ支援ネットワークとして、島根県下の自主グループと学内に設置した地域連携ステーションとの情報ネットワークの構築に取り組んだ。インターネットを活用することで会員や一般への情報発信や情報交換に有効だった。しかし、ホームページへの入力操作に困難性を認めるなど支援も必要としていた。これらの課題解決を図りながらメリット・デメリットを考慮したインターネットの活用は、今後、自主グループの機能強化に有効な手段となることが期待される

Pan-pan Girls: Humiliating Liberation in Postwar Japanese Literature

This paper looks at some literary representations of the ‘pan-pan girls’ in postwar Japan. ‘Pan-pan’ is a derogatory term for street prostitutes who (mostly) served the soldiers of the occupying forces. Immediately after World War II, the Japanese government established the RAA (Recreation Amusement Association) and employed several thousand women to provide sexual services for foreign soldiers, ostensibly to protect Japanese women of middle and upper classes from rape and other violence. When the RAA was closed down in 1946 due to the US concern over widespread VD, many of the women who lost their jobs went out on the street and became private and illegal prostitutes – the pan-pan girls. With their red lipstick, cigarettes, nylon stockings and high-heel shoes, often holding onto the arms of tall, uniformed American GIs, the ‘pan-pan girls’ became a symbol of the occupation, and have been textually reproduced throughout the postwar period. This paper analyses the images and representations of the ‘pan-pan girls’ in postwar Japanese literature, to consider how the ‘pan-pan girls’ have functioned as a metaphor for the occupation and contributed to the public memory construction of the occupation. I identify some major codes of representations (victimisation, humiliation, and national trauma; eroticism and decadence; sexual freedom and materialism) and argue that the highly gendered and sexualised bodies of the ‘pan-pan girls’ have continued to allow simplistic and selective remembering of the occupation at the expense of recalling the pivotal role of Japanese patriarchy in the postwar period

Japanese Popular Culture in the Twenty-First Century: part 1: visual cultures

Japanese popular culture has developed in many unexpected and fascinating ways. From contemporary pop culture's beginnings in the shadow of the Second World War and the earlier China campaign, Japan's sense of identity has been contested, challenged, reconsidered, restructured, and revived through multiple popular media. Pop culture, though, has always occupied a singular place in Japan's expression of selfhood and otherness, providing vicarious experiences of life within Japan.\ud \ud 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.\ud \ud 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 1970s origin of kawaii culture; and street fashion in the 1980s.\ud \ud Volumes II and III, meanwhile, focus on the twenty-first century. 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. The themes explored in these volumes include the role of digital technology in popular culture; esoteric cultural artefacts and activities, such as loli fashion, maid cafés, otaku culture, and traditional music reinvented as pop, as well as more conventionally popular products such as anime, TV drama, and shojo manga. Collectively, the volume demonstrates the complex and heterogeneous nature of the Japanese pop-culture landscape in the twenty-first century.\ud \ud 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. The soft-power rhetoric has become a significant marker of popular culture in Asia in particular, and Japan's influence regionally has been explored from a number of angles. Along with seminal pieces from Nye, Huat, and Iwabuchi, authors in the first section of Volume IV examine the rise of Japan's pop-culture industry, and investigate the socio-economic and political-economic implications of topics such as 'the Japan Brand', 'Cool Japan', and 'Cute Japan'. In the second section, case studies of soft power are brought to the fore, and analyses of the implications for people and culture are developed. Collectively, the materials gathered in this volume demonstrate the highly mobile and complex nature of the globalization of Japanese popular culture

Japanese Popular Culture in the Twentieth Century

Japanese popular culture has developed in many unexpected and fascinating ways. From contemporary pop culture's beginnings in the shadow of the Second World War and the earlier China campaign, Japan's sense of identity has been contested, challenged, reconsidered, restructured, and revived through multiple popular media. 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 1970s origin of kawaii culture; and street fashion in the 1980s. Volumes II and III, meanwhile, focus on the twenty-first century. 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. The themes explored in these volumes include the role of digital technology in popular culture; esoteric cultural artefacts and activities, such as loli fashion, maid cafés, otaku culture, and traditional music reinvented as pop, as well as more conventionally popular products such as anime, TV drama, and shojo manga. 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. The soft-power rhetoric has become a significant marker of popular culture in Asia in particular, and Japan's influence regionally has been explored from a number of angles. Along with seminal pieces from Nye, Huat, and Iwabuchi, authors in the first section of Volume IV examine the rise of Japan's pop-culture industry, and investigate the socio-economic and political-economic implications of topics such as 'the Japan Brand', 'Cool Japan', and 'Cute Japan'. In the second section, case studies of soft power are brought to the fore, and analyses of the implications for people and culture are developed. Collectively, the materials gathered in this volume demonstrate the highly mobile and complex nature of the globalization of Japanese popular culture