Tuesday, January 20, 2009
So the party's over, but the journey is just begun?
I've turned in my project and the resulting paper, but I want to continue collecting articles, visual media, etc partly for the purpose of my larger paper and as a place to collect the occasional flashes of ideas I have during classes, etc.
Tuesday, December 2, 2008
Discourse in Light Novels??!!
Potential future topic:
The reaction to American fiction in Japanese fiction, including responses, re-imaginings, and adaptations. Inspiring example is the high fantasy genre parody of The Slayers in novel format, coming out of a sudden glut of DnD-esque fantasy literature/light novels in the nineties.
The reaction to American fiction in Japanese fiction, including responses, re-imaginings, and adaptations. Inspiring example is the high fantasy genre parody of The Slayers in novel format, coming out of a sudden glut of DnD-esque fantasy literature/light novels in the nineties.
Monday, December 1, 2008
Two Modes of Film
Essentially we can break down the types of documentaries on American and British Television into two modes; Japan as Foreign Interest and Japan as Foreign Spectacle. While these are not mutually exclusive modes for these documentaries, indeed, they cross over quite often, they are the dominant modes of discourse within these sets of programmes. Though my purview is limited to the last ten years, to documentary easily found with entries on their respective websites, and to availability, I believe they are representative of the documentaries that are shown on these public television venues on Japan. At the very least, the majority of the discourse falling into certain modes across these limited number of documentaries is representative of a discourse trend that is worth looking at.
Side Note : If I were only talking about Japanese Documentaries instead of Documentaries about Japan...
According to From Grierson to the Docu-soap: Breaking the Boundaries, a collection of essays from a similarly titled conference ont he documentary held in 1999, there's an essay on the imapct of Paul Rotha, a contemporary of Greirson, a highly influential documentarian, on the Japanese fiml analyst scene post WWII. Again we see the bounce of western philosophic/theory thought within the Japanese context, especially considering the hot era of post WWII when the Americans were running the Occupation.
Saturday, November 29, 2008
The Hierarchy of Choices When Showing Documentary on Public Television
I believe one of the most important elements in the dissection of the documentary is the various levels of choice that an individual program must go through before it is displayed to the viewing public. There is the level of the individual film makers, who create the piece, on what they want to create or who will fund what subject matters and presentations. There is the top level of PBS (considering the American hierarchy), that holds most of the money distribution, and decides what sort of programmes to fund or buy. There's the government pressures involved on what sort of topics or perspectives gain presidence when using grants, etc, which often have guidelines for their use. As MM sensei brought up for my presentation, there are the pressures of the foreign governments and grants involved in their use, and the host country in what the film maker may 'access'. Then there is the local station, trying to gauge what the host community will most 'appreciate'.
In all of these decisions leave an evidence of discourse upon the Documentary Film on the Topic of Japan. Intersections with American Foreign Policy, in other words, things of American Interests. History that focuses on the time period of christian mercenaries entering into Japan, despite the apparently thematic focus upon 'ancient pre-Westernized' Japan in terms of typical cultural artifacts of the Samurai culture, etc. Then the 'spectacle of culture', the wacky and weird that titillates interest. Why do we approach Japan this way? Why is this sort of treatment of subject the only times we see Japan in Public Telelvision? Because someone thought that this would be 'educational', that this would be 'useful' to the audience/the company. Yet we do not see other treatments of the topic of Japan. We do not see the history of Japan, when there is not also a focus upon some key Chrysanthemum Sword concept, or an important Western Perspective point from which to 'not alienate' (I argue this is something of a weak idea) the audience, because otherwise the audience could not possibly relate to something so foreign.
Part of the question isn't just 'what are these documentaries saying', it's 'someone decided that these are the specific programs worth the 'viewers money'. If they are trying to, on a certain level, play to the forces that would put out the money for these programmes--the funding viewers, the funding acadamia, the funding governement, the fundiing company--then these choices reflect what they think these groups want, which reflects how they think it's appropriate to interact with the idea of 'Japan'.
In all of these decisions leave an evidence of discourse upon the Documentary Film on the Topic of Japan. Intersections with American Foreign Policy, in other words, things of American Interests. History that focuses on the time period of christian mercenaries entering into Japan, despite the apparently thematic focus upon 'ancient pre-Westernized' Japan in terms of typical cultural artifacts of the Samurai culture, etc. Then the 'spectacle of culture', the wacky and weird that titillates interest. Why do we approach Japan this way? Why is this sort of treatment of subject the only times we see Japan in Public Telelvision? Because someone thought that this would be 'educational', that this would be 'useful' to the audience/the company. Yet we do not see other treatments of the topic of Japan. We do not see the history of Japan, when there is not also a focus upon some key Chrysanthemum Sword concept, or an important Western Perspective point from which to 'not alienate' (I argue this is something of a weak idea) the audience, because otherwise the audience could not possibly relate to something so foreign.
Part of the question isn't just 'what are these documentaries saying', it's 'someone decided that these are the specific programs worth the 'viewers money'. If they are trying to, on a certain level, play to the forces that would put out the money for these programmes--the funding viewers, the funding acadamia, the funding governement, the fundiing company--then these choices reflect what they think these groups want, which reflects how they think it's appropriate to interact with the idea of 'Japan'.
Wednesday, November 12, 2008
Preparation for Presentation
Welcome everyone to the whiley world of Documentaries through the internet.
My project focuses on Documentaries about Japan found through public television. As a non commercial entity that is available, without fee, to an entire region Public Television has an overall feeling of authenticity to their programming, and an assumption of freedom in being able to show whatever they feel like without repercussions from commercial pressure. The small time cook gets air time, and the special antique roadshow, and the BBC has a high authority of having good news ethics and high quality documentary. However, I intend to show that public television documentaries are not always so ideally realized.
After all, they do rely on public funding and public interest in their programming.
I focused on PBS and BBC.These two stations share a lot of cross-pollination in their programming--PBS local stations show BBC programming, and their documentaries are often shared.
A brief overview of the history of Public Television is available as a timeline at Current.org, while a decent overview of BBC is at the Wikipedia entry.
There are four real kinds of documentary that I have been encountering.
The first is the newsreel current events documentary, often focusing on a special interest. Very recently aired, "Japan's About Face" is a documentary on the recent issues with Art 9 and the Self Defense Force in Japan. This sort of documentary tends to be more neutrally focused, but as can be seen in this film, will alide references to the host cultural at times. However, otherwise it is a rather excellent example of documentary in a more neutral mode.
Produced by Micha Fink, who has worked on other Wide Angle documentary reports before, this documentary focuses heavily on Japan--but not as much on the US involvement with the entire issue of the SDF. Wide Angle is funded by a lonf list of names familiar to PBS, including Ford Foundation, and various high profile foundations, and Mutual American Insurance. They claim to be the only international current events documentary program in the United States with "hard hitting interviews" meant to make up for the lack in American television.
Please view:
Part 1
Part 2
Part 4, 3:30 till 4:40
Part 7
Then you have the historical piece. The visuals are evocative of the Orientalist mindset, and the casting reminds me of jidaieki drama in Japan. Often this is strongest in the bookends of the episode, while the actual academic research may be sound. The situational time and place is emphasized in a stereotyped manner. These are heavily tied to academic research.
Japan The Secret Empire
Ep: The Way of the Samurai
Contributing Academics: Michael R. Asulin, Beatrice Bodart-Bailey, Michale Cooper,
And Eiko Ikegami, Herbert Plutshow, Luke Roberts, Cecilia Segawa Seiguchi, Harutoshi Takafuji, Makoto Takeuchi. They are from top universities of America, Europe, and Japan.
Part 1/6
from 6:pp to end
And this one from start to 4:40.
And the beginning of this part.
Then there is the Cultural Quality/Aspect focused piece. Here, the style of the documentary begins to range widely, and the hosts tend to be enthusiasts, or people who 'journey into an experience'. Topics include Geisha, Popular Culture, Samurai Sword Making, Samurai Style Martial Arts. There's often an emphasis on the scared past, Japan 'creating a unique historical treasure' which interacts with Japan's official use of 'cultural treasure' status given to craftsmen understood to be preserving traditional styles of significant importance to Japan. These are far greater in quantity.
Geisha Girl
Aired in 2006 on the BBC; this edition is taken from the Discovery Channel airingNew Link: Please watch at least the beginning ten or so minutes, the rest may also be interesting
Notice the emphasis on constraint, and the sense of a lost artform. There's this fascination with the idea of the Geisha trained girl. However, it's overall not that bad a documentary in terms of presenting information.
Fashion in Japan
This gives you a good idea of what sort of angle things can take.
Again, we have the identity of Japanese as constrained.
And in it's own category is Johnathon Ross, one of the most consistent personalites to show up in the recent range of BBC pop culture Japan documentaries. A very flamboyant and well known host in the UK, he starred as a self-proclaimed Japanophile in the series Japan-o-rama, a miniseries that delved into Japanese subculture one wacky piece at a time. Well known on the internets, he often makes broad claims about Japan and the Japanese, while constantly playing the wacky, crazy, edgy aspects of whatever he's talking about. He has a few newer series in the same vein, drawing off his authority as a host for earlier BBC cult film showings.
Typical Johnathon Ross:
Japanorama: Zoku (tribes); Watch at least half of this episode, at least until the Uniform section about five minutes in is over.
Watch Ep 1 part 1, for a feel
My project focuses on Documentaries about Japan found through public television. As a non commercial entity that is available, without fee, to an entire region Public Television has an overall feeling of authenticity to their programming, and an assumption of freedom in being able to show whatever they feel like without repercussions from commercial pressure. The small time cook gets air time, and the special antique roadshow, and the BBC has a high authority of having good news ethics and high quality documentary. However, I intend to show that public television documentaries are not always so ideally realized.
After all, they do rely on public funding and public interest in their programming.
I focused on PBS and BBC.These two stations share a lot of cross-pollination in their programming--PBS local stations show BBC programming, and their documentaries are often shared.
A brief overview of the history of Public Television is available as a timeline at Current.org, while a decent overview of BBC is at the Wikipedia entry.
There are four real kinds of documentary that I have been encountering.
The first is the newsreel current events documentary, often focusing on a special interest. Very recently aired, "Japan's About Face" is a documentary on the recent issues with Art 9 and the Self Defense Force in Japan. This sort of documentary tends to be more neutrally focused, but as can be seen in this film, will alide references to the host cultural at times. However, otherwise it is a rather excellent example of documentary in a more neutral mode.
Produced by Micha Fink, who has worked on other Wide Angle documentary reports before, this documentary focuses heavily on Japan--but not as much on the US involvement with the entire issue of the SDF. Wide Angle is funded by a lonf list of names familiar to PBS, including Ford Foundation, and various high profile foundations, and Mutual American Insurance. They claim to be the only international current events documentary program in the United States with "hard hitting interviews" meant to make up for the lack in American television.
Please view:
Part 1
Part 2
Part 4, 3:30 till 4:40
Part 7
Then you have the historical piece. The visuals are evocative of the Orientalist mindset, and the casting reminds me of jidaieki drama in Japan. Often this is strongest in the bookends of the episode, while the actual academic research may be sound. The situational time and place is emphasized in a stereotyped manner. These are heavily tied to academic research.
Japan The Secret Empire
Ep: The Way of the Samurai
Contributing Academics: Michael R. Asulin, Beatrice Bodart-Bailey, Michale Cooper,
And Eiko Ikegami, Herbert Plutshow, Luke Roberts, Cecilia Segawa Seiguchi, Harutoshi Takafuji, Makoto Takeuchi. They are from top universities of America, Europe, and Japan.
Part 1/6
from 6:pp to end
And this one from start to 4:40.
And the beginning of this part.
Then there is the Cultural Quality/Aspect focused piece. Here, the style of the documentary begins to range widely, and the hosts tend to be enthusiasts, or people who 'journey into an experience'. Topics include Geisha, Popular Culture, Samurai Sword Making, Samurai Style Martial Arts. There's often an emphasis on the scared past, Japan 'creating a unique historical treasure' which interacts with Japan's official use of 'cultural treasure' status given to craftsmen understood to be preserving traditional styles of significant importance to Japan. These are far greater in quantity.
Geisha Girl
Aired in 2006 on the BBC; this edition is taken from the Discovery Channel airingNew Link: Please watch at least the beginning ten or so minutes, the rest may also be interesting
Notice the emphasis on constraint, and the sense of a lost artform. There's this fascination with the idea of the Geisha trained girl. However, it's overall not that bad a documentary in terms of presenting information.
Fashion in Japan
This gives you a good idea of what sort of angle things can take.
Again, we have the identity of Japanese as constrained.
And in it's own category is Johnathon Ross, one of the most consistent personalites to show up in the recent range of BBC pop culture Japan documentaries. A very flamboyant and well known host in the UK, he starred as a self-proclaimed Japanophile in the series Japan-o-rama, a miniseries that delved into Japanese subculture one wacky piece at a time. Well known on the internets, he often makes broad claims about Japan and the Japanese, while constantly playing the wacky, crazy, edgy aspects of whatever he's talking about. He has a few newer series in the same vein, drawing off his authority as a host for earlier BBC cult film showings.
Typical Johnathon Ross:
Japanorama: Zoku (tribes); Watch at least half of this episode, at least until the Uniform section about five minutes in is over.
Watch Ep 1 part 1, for a feel
BBC Documentaries: Music in Japan
A more neutral attempt at discussing the music scene in Japan. The first interviewed person is not a Japanese band, but a British musician trying to break into the market, to present an interview, focusing on the diversity. "Western music is supposed to dominant the Japanese market. In fact, they prefer their own music..." and "Develop their own styles..."
"Most successful export is techno dance music."
Then move into talk of Japanese music pushing into the International Market. Then they shift into Visual Kei, and the fandom in Japan. "The Japanese music market is very fickle, changing all the time." Then into Morning Musume, the created singing group of girls.
What's interested is they push the created group idea, and the digital overendowed female idol.
Hiphop, "taking something from America and making something new." Wealthy kids--freedom to see society because they've been outside society and can see the society more easily, and then hang out with other levels of class. Interesting here are the comments from the interviewees about how Japanese society prevents people from saying how they feel, so they want to break past this with their music.
"Fushion of East and West." "West is becoming more and more like the Japanese market--rec companies, like manufactured things, easy to sell, easy to control." "It's very interesting to see idol groups are breaking very big in the american market...there's more individuality, more aggressive non-conformist music.
Ultimately not as interesting in terms of Western viewpoint of Japan and the discourse, which is interesting in and of itself. They do push, however, in their closing comments the idea of a fushon of East and Western style in the market, and a contrast between indivudal artists with an individual style and the rec companies enjoying easily manufactured sound.
"Most successful export is techno dance music."
Then move into talk of Japanese music pushing into the International Market. Then they shift into Visual Kei, and the fandom in Japan. "The Japanese music market is very fickle, changing all the time." Then into Morning Musume, the created singing group of girls.
What's interested is they push the created group idea, and the digital overendowed female idol.
Hiphop, "taking something from America and making something new." Wealthy kids--freedom to see society because they've been outside society and can see the society more easily, and then hang out with other levels of class. Interesting here are the comments from the interviewees about how Japanese society prevents people from saying how they feel, so they want to break past this with their music.
"Fushion of East and West." "West is becoming more and more like the Japanese market--rec companies, like manufactured things, easy to sell, easy to control." "It's very interesting to see idol groups are breaking very big in the american market...there's more individuality, more aggressive non-conformist music.
Ultimately not as interesting in terms of Western viewpoint of Japan and the discourse, which is interesting in and of itself. They do push, however, in their closing comments the idea of a fushon of East and Western style in the market, and a contrast between indivudal artists with an individual style and the rec companies enjoying easily manufactured sound.
Tuesday, November 11, 2008
BBC Documentaries: Way of the Warrior (1883)
One of an eight part series, this episode focuses on Karate and an Okinawan practitioner. There are certain strange 'signifyers' for this documentary, such as the opening with two women doing a slow dance during the opening narration.
Way of the Samurai
Again we have the idea of 'traveling back into the past' when within Japan. "Even now, life in Japan is lived on the floor, so it's only natural practice begins here.", "a way of fighting they will never use," and an emphasis on the ideas of perfection, elegance, and focus. They combine the creation of the sword with the practice of the continued martial arts of sword combat, outlined as separate from kendo. "Intangible cultural asset."
Way of the Samurai
Again we have the idea of 'traveling back into the past' when within Japan. "Even now, life in Japan is lived on the floor, so it's only natural practice begins here.", "a way of fighting they will never use," and an emphasis on the ideas of perfection, elegance, and focus. They combine the creation of the sword with the practice of the continued martial arts of sword combat, outlined as separate from kendo. "Intangible cultural asset."
PBS Documentary: Losing the War with Japan (1991)
The economic scare of the American industry with Japan, before the economic bubble burst, was heavy in the media. That frontline picked this up doesn't really surprise me, but there is clearly a much heavier bias in these clips then the more recent, say, Japan's About Face.
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