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Journal articles on the topic 'Japanese pop culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Chen, Yixin. "Analyzing the Spiritual Connotation of Japanese Pop Culture from the Course of Modernization Based on Contemporary Japanese Writers." Journal of Education, Humanities and Social Sciences 31 (April 27, 2024): 125–29. http://dx.doi.org/10.54097/2m55m879.

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The development of pop culture in Japan has long historical roots. Since its post-war modernization, Japan has successfully transformed itself from an old culture-importing country to a culture-exporting country. The article focuses on a number of epochal points since Japan's post-war renaissance, analyzing a number of representative Japanese authors and their works from 1945 to the present, and understanding the birth and spread of Japanese popular culture. Studies have shown that the development of Japanese popular culture has been heavily influenced by European and American culture, but has

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2

Fairuzzahra, Nabila Vina. "Mediascapes of Japanese Culture in Chinese Drama Series: Adaptations of Zhao Qianqian works." JAPANEDU: Jurnal Pendidikan dan Pengajaran Bahasa Jepang 5, no. 2 (2020): 96–110. http://dx.doi.org/10.17509/japanedu.v5i2.23730.

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Globalization has encouraged the enhancement of media, so that various kinds of information are accessible. Hence, Japan is utilizing media to promote their pop culture globally. One of the countries whose media is influenced by Japanese pop culture is China. This study aims to determine the mediascapes of Japanese pop culture in Chinese drama series, specifically the ones that are adapted from Zhao Qianqian’s works; A Love So Beautiful (2017) and Put Your Head on Your Shoulder (2019). Theory used in this study is mediascapes–one of the five dimensions in Arjun Appadurai’s disjuncture globaliz

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Wu, Yuqing. "Can Pop Culture Allay Resentment? Japan’s Influence in China Today." Media and Communication 9, no. 3 (2021): 112–22. http://dx.doi.org/10.17645/mac.v9i3.4117.

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In China, despite the traumatic collective memory relating to militaristic Japan during World War II, an increasing number of Chinese young adults have developed an obsession with Japanese culture, due to its export of anime, movies, pop music, and other popular culture. Based on interviews with 40 Chinese and Japanese young adults, this work examines how contemporary pop culture and historical war memories related to Japan influenced Chinese young adults, who had to reconcile their contradictory sentiments toward the Japanese government, people, and culture. The success of Japanese pop cultur

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4

Slaymaker, Doug, and Mark Schilling. "The Encyclopedia of Japanese Pop Culture." Monumenta Nipponica 53, no. 1 (1998): 147. http://dx.doi.org/10.2307/2385671.

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Sadid Rizqillah Turrahman, RR Roosita Cindrakasih, and Rizky Hidayat. "Peran Media Sosial Dalam Membentuk : Popularitas Budaya Pop Jepang Pada Komunitas Cosplay Yagaro Japanese Club." Tamilis Synex: Multidimensional Collaboration 3, no. 1 (2025): 49–55. https://doi.org/10.70610/tls.v3i1.749.

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This study aims to analyze how social media contributes to building the popularity of Japanese pop culture among the younger generation, particularly within the cosplay community of Yagaro Japanese Club. Using a qualitative research method with a descriptive approach, this research explores strategies for utilizing social media, its impact on community identity, and its contribution to the popularity of Japanese pop culture. The findings reveal that social media platforms, especially Instagram, TikTok, and YouTube, play a significant role as promotional and interaction tools for the cosplay co

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Kumalaningsih, Ratna Dewi, and Anna Yulia Hartati. "Diplomasi Publik Jepang (Studi Kasus : Budaya Pop Jepang Di Indonesia)." Kajian Hubungan Internasional 1, no. 2 (2022): 431. http://dx.doi.org/10.31942/khi.2022.1.2.6473.

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This thesis aims to discuss the importance of using Japanese pop culture in this case, Manga, Anime and Cosplay as part of Japanese public diplomacy in Indonesia. This discussion is divided into the MOFA (Japan Ministry of Foreign Affairs) program and the Japan Foundation as one of the actors who also carry out public diplomacy. The research in this thesis uses qualitative research methods with descriptive elaboration through the description of programs implemented such as the International Manga Award, World Cosplay Summit or even the appointment of anime or manga characters as Ambassadors (a

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7

U., M. "Mangajin: Japanese Pop Culture & Language Learning." Journal of the Association of Teachers of Japanese 26, no. 1 (1992): 78. http://dx.doi.org/10.2307/489455.

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8

Finan, Dorothy. "Interrogating the global success of J-pop and K-pop idols." East Asian Journal of Popular Culture 6, no. 2 (2020): 159–75. http://dx.doi.org/10.1386/eapc_00023_1.

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Why is it that we think of K-pop idols as more globally successful than J-pop idols? In this article, I examine the production, distribution and media reception of the South Korean and Japanese idol pop music under the labels of J-pop and K-pop. I show how although structural and economic reasons go some way towards explaining the differing international reaches of J-pop and K-pop idols, we must also take into account the impact of imagined versions of national popular cultures within the paradigm of the global. Specifically, I argue that we cannot consider J-pop and K-pop’s global successes w

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9

Kim, Moonsun, and Sungkyoo Hong. "An Examination of the Characteristics of 1980s Japanese City Pop." Korean Society of Culture and Convergence 45, no. 11 (2023): 1239–52. http://dx.doi.org/10.33645/cnc.2023.11.45.11.1239.

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This research examines the characteristics of Japanese City pop music from the 1980s, which encapsulates the urban sensibility of the era. In essence, it aims to elucidate the significance and implications of 1980s City pop as a popular music genre. The 1970s, which is closely associated with the emergence of City pop, marked a turning point from counterculture to commercial culture, representing a period where the existing musical identity evolved into a new form of music. This transformation can be observed in the music of ‘Happy end’, which captured the fading image of old Tokyo due to Japa

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10

Effendi, Tonny Dian. "K-pop and J-pop Influences to University Students in Malang, East Java – Indonesia : A Comparative Public Diplomacy Studies." Andalas Journal of International Studies (AJIS) 1, no. 2 (2015): 182. http://dx.doi.org/10.25077/ajis.1.2.182-198.2012.

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This paper discussing the comparison of Korean Pop Culture and Japan Pop Culture to the youth in Malang.One of the important of this research is about public diplomacy using pop culture which creating many fans and lovers. The main purpose of the research is to show how the globalization in culture has influencing the youth in developing country like Indonesia. Malang is one of the city that have many K-Pop lovers and J-Pop lovers. This research is qualitative and using depth interview to get information from the participant as the member of the pop lovers. The result shows that both Korea and

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Yuniarsih and Anindhita Asmarani Putri. "PENERAPAN KAWAII BUNKA PADA FIGUR VTUBER MINATOAQUA DALAM BUDAYA POPULER JEPANG." Jurnal Pendidikan Bahasa Jepang Undiksha 9, no. 2 (2023): 174–82. https://doi.org/10.23887/jpbj.v9i2.59524.

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Japan is a country that has a variety of cultures, one of which is its modern culture known as "Japanese Pop Culture" which then gave birth to kawaii culture or kawaii bunka. Kawaii bunka is a Japanese aesthetic culture that was born with the development of popular culture in Japan. Kawaii bunka can be found in popular culture products such as anime, manga, pop music, fashion and characters in Japan. In Japanese popular culture, the global community can experience the latest phenomena. One of them is the VTuber phenomenon. In this study, the application of kawaii bunka to the VTuber phenomenon

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12

Salvador, Rodrigo B. "Medjed: from Ancient Egypt to Japanese Pop Culture." Journal of Geek Studies 4, no. 2 (2017): 10–20. https://doi.org/10.5281/zenodo.8352186.

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Wróbel, Antonina. "Son Gokū i Power Rangers w Galicji." Intercultural Relations 8, no. 1(15) (2024): 62–76. http://dx.doi.org/10.12797/rm.01.2024.15.04.

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SON GOKŪ AND POWER RANGERS IN GALICIA: THE USE OF JAPANESE POP CULTURE IN THE ARTWORK OF GALICIAN MURALIST YOSEBA MP My paper discusses the influence of Japanese art on Galician art. Firstly, I provide a historical overview of the Spanish Japanese relations, with particular emphasis on Galicia. Second, the analysis of the works of Galician artist Yoseba MP allows reflection on the changes generated by the application of elements of Japanese pop culture to another cultural area. I put particular emphasis on the figure of the superhero and his transformation to the local context, so as to show h

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14

Xu, Muwen. "The Rise of Time Fengjun Entertainment." Scientific and Social Research 3, no. 3 (2021): 178–81. http://dx.doi.org/10.36922/ssr.v3i3.1179.

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The profit generated by Time Fengjun Entertainment through the fandom culture is immeasurable. A retrospective view at the development of Chinese idol industry has shed light on the extensive achievement and revolution made in the past few year. Based on the system of Japanese pop culture (J-Pop) and Korean pop culture (K-pop), Chinese idol industry gradually forms a special scale, and also conceives its own way of identifying and nurturing idols. Time Fengjun Entertainment is the only company which focuses on the development and training of teenagers who have the potential of becoming idols.

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15

Nurilaila, Eka, Sigit Ricahyono, Dwi Setyadi, and Samsul Arifin. "National Cultures and Politeness Strategies in Intercultural Communication Among Japanese and American Characters in “The Last Samurai” Movie: A Cross-Cultural Pragmatic Analysis." Social Sciences, Humanities and Education Journal (SHE Journal) 1, no. 1 (2020): 10. http://dx.doi.org/10.25273/she.v1i1.5853.

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<p>The study which is descriptive qualitative in nature, aims to investigate preference of politeness strategies by American and Japanese characters in “The Last Samurai movie and explain it in terms the national culture. Results show that the order of preference by Americans is: 1) BoP (11/50%), 2) PoP (7/31.8%), 3) NeP (3/13.6%), and 4) OfR (1/4.5%). That by the Japanese is: 1) OfR (18/60%), 2) BoR (6/20%), 3). NeP (6/20%), 4) PoP (0). American national culture and that of Japan which are different affect their preference of politeness strategies shown in “The Last Samurai” movie. In c

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Burdzik, Tomasz. "Kawaii - estetyka made in Japan." Kultura Popularna, no. 2(44)) (December 30, 2015): 156–65. https://doi.org/10.5281/zenodo.3957716.

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<strong>Polish Abstract</strong> Celem artykułu jest przedstawienie japońskiego zjawiska zwanego kawaii, cechującego się silnym oddziaływaniem na całym świecie, szczególności w rozrywce, modzie oraz popkulturze. Kawaii jest przymiotnikiem oznaczającym &bdquo;uroczy”, &bdquo;kochany”, będącym znaczącym aspektem japońskiej kultury. Różnorakie japońskie postacie będące kawaii stały się popularne. Artykuł omawia znaczenie kawaii, jego genezę oraz przyczyny popularności.  Słowa kluczowe: kawaii, Japonia, japońska kultura popularna, kansei, kultura Japonii <strong>Engl

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17

Setiawan, Albert Octavio, and Chrisdina Chrisdina. "Marketing Strategy Of JKT48 As A Japanese-Style Idol Group In Attracting New Markets In Indonesia." COMMENTATE: Journal of Communication Management 4, no. 1 (2023): 58. http://dx.doi.org/10.37535/103004120246.

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The world of performances is very developed in Indonesia, one of which is in the country's music industry. Pop music or songs are songs that are often heard by Indonesian people, due to the influence of outside culture, one of which is Japanese culture, so in Indonesia, there are J-pop style songs or Japanese-style songs. But persistence in Indonesia is not as popular as K-Pop. One of the well-known J-Pop in Indonesia has survived until now, namely JKT48 which has been established since 2012. JKT48 is an idol group branch of AKB48 which was formed for the first time in Japan, specifically in t

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Setiawan, Albert Octavio, and Chrisdina Chrisdina. "Marketing Strategy Of JKT48 As A Japanese-Style Idol Group In Attracting New Markets In Indonesia." COMMENTATE: Journal of Communication Management 4, no. 1 (2023): 58. http://dx.doi.org/10.37535/103004120236.

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The world of performances is very developed in Indonesia, one of which is in the country's music industry. Pop music or songs are songs that are often heard by Indonesian people, due to the influence of outside culture, one of which is Japanese culture, so in Indonesia, there are J-pop style songs or Japanese-style songs. But persistence in Indonesia is not as popular as K-Pop. One of the well-known J-Pop in Indonesia has survived until now, namely JKT48 which has been established since 2012. JKT48 is an idol group branch of AKB48 which was formed for the first time in Japan, specifically in t

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19

Manzenreiter, Wolfram, and Timothy J. Craig. "Japan Pop! Inside the World of Japanese Popular Culture." Journal of Japanese Studies 28, no. 1 (2002): 246. http://dx.doi.org/10.2307/4126802.

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Stanlaw, James. "Japanamerica: How Japanese Pop Culture Has Invaded the U.S." Journal of American-East Asian Relations 17, no. 3 (2010): 290–91. http://dx.doi.org/10.1163/187656110x548657.

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21

Moody, Andrew J. "English in Japanese popular culture and J-Pop music." World Englishes 25, no. 2 (2006): 209–22. http://dx.doi.org/10.1111/j.0083-2919.2006.00460.x.

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22

Sasaki, Elisa Massae. "Língua e cultura pop japonesa no Brasil: resultados de uma pesquisa de campo em São Luís (MA) e Fortaleza (CE)." Estudos Japoneses, no. 35 (March 7, 2015): 10–26. http://dx.doi.org/10.11606/issn.2447-7125.v0i35p10-26.

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This article will present fieldwork on Japanese language and culture in Brazil, achieved in São Luís (MA) and Fortaleza (CE). It was part of a research study called “Japanese language as the networking ties” which aimed to elucidate the role of Japanese language as “ties”, emphasizing how the Japanese language can contribute to forming communities outside of Japan. The research focused on the people of the group called “nihongo-jin” who reported, in the interview, their contact with Japanese pop culture and how it led them to study Japanese language.

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Teresa, Chiquita Goenawan, and Aminah Shobichatul. "An Unloving Parenthood: Understanding Narcissistic Parenting through Japanese Pop Culture." RA JOURNAL OF APPLIED RESEARCH 08, no. 08 (2022): 615–25. https://doi.org/10.5281/zenodo.7019275.

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<strong>ABSTRACT</strong> This research discusses narcissistic parenting represented in the comic Fruits Basket by Natsuki Takaya. Narcissistic parenting is a parenting style affected by a parent’s narcissism. This parenting style doesn’t offer enough space for a child to be themselves. A parent’s narcissism causes the parent to inflict physical and emotional abuse against children.  This research is a descriptive qualitative research based on the concept of narcissistic parenting written in The Narcissistic Family: Diagnosis and Treatment by Stephanie Donaldson-Pressman

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Susino, Marco, and Emery Schubert. "Cultural stereotyping of emotional responses to music genre." Psychology of Music 47, no. 3 (2018): 342–57. http://dx.doi.org/10.1177/0305735618755886.

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This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music samples from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a s

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Severino, Filipe Segurado. "Tourism Through Pop Culture: A Conceptual Model Rooted in Japanese Cultural Events." International Conference on Tourism Research 8, no. 1 (2025): 439–42. https://doi.org/10.34190/ictr.8.1.3516.

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This paper examines the generalization of a conceptual model that positions emerging events featuring exotic popular content as catalysts for tourism development. Originally developed through an analysis of Japanese pop culture events, such as anime conventions, the model underscores the pivotal role of these cultural events in attracting international tourists and fostering cross-cultural engagement. The framework focuses on three core components: the relationship between tourism and events, the direct and indirect impacts on the host destination and the culture destination origin, and strate

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Yokoji, Keiko. "Reception of Japanese Pop Culture Into Taiwan - OTAKU Culture as Main Topic –." Journal of the society of Japanese Language and Literature, Japanology ll, no. 60 (2013): 411–30. http://dx.doi.org/10.21792/trijpn.2013..60.021.

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27

Bîrlea, Oana-Maria. "Kawaii (Cute) Signs and Symbols as a Means of Maintaining Harmony in Japanese Society." Studia Universitatis Babeș-Bolyai Philologia 66, no. 1 (2021): 205–18. http://dx.doi.org/10.24193/subbphilo.2021.1.15.

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"Kawaii (Cute) Signs and Symbols as a Means of Maintaining Harmony in Japanese Society. This study focuses on the various facets of the Japanese concept of kawaii (“cute”, “adorable”), as resulting from print advertisements. In the last decade it has been intensively studied by different scholars from various research fields aiming to understand the Japanese worldview. The analysis of pop culture elements, of which kawaii is part of, was not an area of interest due to the fact that they were considered inferior to high culture (classical arts and traditions), but the influence of this concept

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Zhou, Yuxuan. "The Impact of Economic Development and Change on Popular Culture: A Case Study of Japan’s Bubble Economy." Journal of Education, Humanities and Social Sciences 42 (December 9, 2024): 289–93. https://doi.org/10.54097/q03x7k15.

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The illusion of prosperity causes by the soaring Japanese currency exchange rate and stock price during the Bubble Economy period is always full of extravagance, dreamy feelings and praise of materialism in the popular culture of that period. ‘City Pop’ music is a style combining western pop music, retro and nostalgic, which is formed during the Bubble Economy period of Japan in the 1980s. This style of music conveys the enchanting Japanese urban life to the audience, reflecting Japan’s vanity and luxurious popular aesthetics. As well as taking the classic anime Mobil Suit Z Gundam (1985) and

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Pellitteri, Marco. "Editorial - Layers of aesthetics and ethics in Japanese pop culture." Mutual Images Journal, no. 7 (December 20, 2019): i—xvi. http://dx.doi.org/10.32926/2019.7.pel.edito.

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Dear readers, students, fellow scholars, welcome to this seventh instalment of Mutual Images. This issue is not as thick as all the previous ones and as the next will be; it compensates its brevity, however, with a novelty which I describe a few lines below. [...]

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Dewanty, Via Luviana, Ghaida Farisya, and Dewi Kusrini. "Japanese Pop Culture for Language Learning: A Quantitative Study on Motivation and Japanese Language Skills Among Japanese Language Students in Indonesia." KIRYOKU 9, no. 1 (2025): 238–50. https://doi.org/10.14710/kiryoku.v9i1.238-250.

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This quantitative study investigates the impact of Japanese Pop Culture (JPC) on the motivation and Japanese language skills of Japanese language study program students in Indonesia. This research is based on theories about the role of pop culture in foreign language learning, especially the role of JPC in students' interest in Japanese. Questionnaires related to interest in learning Japanese, motivation to learn Japanese, activities associated with JPC outside of lectures, and improving Japanese language skills were distributed to 70 Japanese language study program students from several unive

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Tariq, Urwa, and Sarah Laura Nesti Willard. "Japanese Anime Fandoms in the UAE: An Exploratory Study on Media Accessibility, Habits and Cultural Perceptions." Journal of Anime and Manga Studies 2 (November 29, 2021): 185–217. http://dx.doi.org/10.21900/j.jams.v2.774.

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The satellite TV revolution in the United Arab Emirates (UAE) in the early 1990s precipitated the proliferation of foreign media broadcasts. Japanese anime dubbed into Arabic became the most-watched content in Emirati households, a trend that continues to date because the Japanese entertainment and digital media industry offers youngsters easy access to and diverse options for anime. This paper provides an overview and analysis of the growing popularity of anime fandoms in the UAE to ascertain the level of commitment, involvement and the moral perceptions of Emirati fans vis-à-vis Japanese pop

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Purwaning Tyas, Agnes Siwi, and Georgius Benardi Darumukti. "#makansiangdubes: Gaining Foreigns’ Affections through Localized Contents." JLA (Jurnal Lingua Applicata) 3, no. 2 (2020): 87. http://dx.doi.org/10.22146/jla.57678.

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The effect of Japan nation branding in Indonesia is strong. Indonesian youths and teenagers are attracted to tokusatsu, manga, anime, figures, brands, and J-Pop which make them easily accept and are familiar with pop-culture and kawaii culture from Japan. The development of Japanese creative industries and internet media also reinforce Japanese cultural impacts in Indonesia, especially because Indonesian youths love to spend their pastime accessing social media. Taking this as a good opportunity, Masafumi Ishii, the Japanese Ambassador for Indonesia tries to present the images of Japanese to b

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Fernández-Bedoya, Víctor Hugo, Johanna de Jesús Stephanie Gago-Chávez, Monica Elisa Meneses-La-Riva, and Josefina Amanda Suyo-Vega. "Exposure to Anime in Peru and Its Relationship with Demand for Goods and Services Related to Japanese Popular Culture." Journal of Educational and Social Research 12, no. 5 (2022): 11. http://dx.doi.org/10.36941/jesr-2022-0118.

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Japanese animation, usually referred as anime, has gained popularity around the world. Anime fans, when exposed to this audio-visual product, generate unique feelings, which could develop into an attraction for other cultural products of Japanese origin. The objective of the study is to determinate significates relationships between exposure to anime and the raising demand for goods and services related to Japanese popular (in the means of desire to consume manga, to eat Japanese cuisine, to wear Japanese fashion, to attend a Japanese rock or pop concert, to study the Japanese language, and to

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Severino, Filipe Segurado, and Francisco Silva. "Impact of the Pandemic on Event Tourism: The Resilience of Japanese Pop Culture Events." International Conference on Tourism Research 7, no. 1 (2024): 372–80. http://dx.doi.org/10.34190/ictr.7.1.2029.

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Using a theoretical framework that recognises the pervasive impact of the COVID-19 pandemic on global tourism and events, this study examines the unique complexities of Japanese pop culture events. These events, characterised by their ability to attract large audiences, especially enthusiastic youth, have traditionally flourished through interpersonal interactions. This discrepancy between the interactive nature of events and pandemic-induced measures has necessitated fundamental changes in event management strategies. However, pandemic responses and restrictions contrasted sharply with the na

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Boles, Coleton. "Westernization and Its Effects on the Sound of Japan." Global Insight: A Journal of Critical Human Science and Culture 3, no. 1 (2022): 22–28. http://dx.doi.org/10.32855/globalinsight.2022.003.

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A major source of influence on Japanese musicians has historically been Western art, and the resulting music has also served to influence much of Western contemporary music. This paper forms a timeline containing some key moments in Japanese music history, including the pioneering of Japanese-language rock, synth-pop, and Shibuya-kei. This investigation into these important moments is supplemented by quotes from interviews of musicians, including Haruomi Hosono of Yellow Magic Orchestra and Happy End, Keigo Oyamada of Flipper’s Guitar, and Yasuharu Konishi of Pizzicato Five. This paper finds t

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Dimitrio, Laura. "Japonisme, New Japonisme, and Pop Japonisme in Italian Fashion." Journal of Japonisme 9, no. 2 (2024): 80–114. http://dx.doi.org/10.1163/24054992-09020002.

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Abstract This article examines the profound impact exerted by Japanese fashion and culture on the evolution of Italian fashion. In Italy, the assimilation of Japanese clothing and aesthetics occurred particularly during three periods: 1870s–1920s (the era of Japonisme), 1970s–1990s (New Japonisme), and the early decades of the twenty-first century (Pop Japonisme). Throughout these periods, the kimono was a significant source of inspiration for Italian designers, who progressively reinterpreted this garment with increasing creativity. With the onset of New Japonisme, the influence of avant-gard

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Delank, Claudia. "The Painters of the Blaue Reiter and Japan." Journal of Japonisme 5, no. 1 (2019): 71–91. http://dx.doi.org/10.1163/24054992-00051p03.

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Abstract Japonisme, like today’s Japanese pop culture, is a transcultural phenomenon. In the ‘classical phase of Japonisme’ individual artists were influenced by Japanese art (especially by ukiyo-e woodblock prints) and transcended thematic and compositional adaption: the confrontation with Japanese art sparked a creative process and led to new developments in art. Japonisme became not only an important medium in the development of modern western art, but also attested a cultural transcendence.

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Afanasov, N. B. "Japanese Popular Culture and Digimodernism." Omsk Scientific Bulletin. Series Society. History. Modernity 5, no. 4 (2020): 48–56. http://dx.doi.org/10.25206/2542-0488-2020-5-4-48-56.

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The article addresses the socio-philosophical interpretations of Japanese popular culture. Pointing out the unique position of the latter, the author believes that the experience of a number of successful Japanese projects that have become global phenomena can be used by social and cultural theorists to analyze modernity. The article refers to the genesis of Japanese popular culture in the mid-90s of the XX century, when the most popular part of Japanese pop culture in the West — anime — embodied the postmodern canon. However, a closer look reveals that the optics of postmodernism, which by th

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Close, Natalie. "Tradition vs. Pop Culture: Attracting Tourists with the Cool Japan Campaign." Mutual Images Journal, no. 5 (December 20, 2018): 31–48. http://dx.doi.org/10.32926/2018.5.clo.tradi.

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In 2008 the Japanese government set a goal of attracting 20 million foreign tourists by the Olympics in 2020. The country managed to achieve that goal by last year and has since revised their goal to 40 million tourists by 2020. A big part of the drive to increase tourist numbers has been the government led Cool Japan campaign. Attracting foreign tourists remains one of the mainstays of the Cool Japan campaign, as can be seen in the tourist-focused events and advertising witnessed overseas. One of the key aspects of the Cool Japan campaign has been to promote creative cultural industries, in p

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De Launey, Guy. "Not-so-big in Japan: Western pop music in the Japanese market." Popular Music 14, no. 2 (1995): 203–25. http://dx.doi.org/10.1017/s0261143000007443.

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The phrase ‘big in Japan’ has become a popular cliché, used to describe acts which are meant to be enjoying Japanese success: anyone from Kylie Minogue to Primal Scream; from Dead or Alive to Blur. It seems that even the most unregarded artists can make it in Japan. Even Spinal Tap – the fictional, washed-up heavy metal band from Rob Reiner's film of the same name – were finally able to find success in Japan. The implication seems to be that the Japanese hunger for Western culture is so strong that even bands who have failed in their own countries can succeed in the Japanese market. Indeed, an

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Condry, Ian. "Japan (日本)". Global Hip Hop Studies 3, № 1 (2022): 89–95. http://dx.doi.org/10.1386/ghhs_00052_1.

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Many people assume that Japanese language and culture make the country an unlikely place for a robust hip hop scene, but in fact, Japanese emcees, DJs, breakers and visual artists have a long and varied history of contributing to global hip hop. From small nightclubs to giant arenas, Japan’s hip hop artists run the gamut of underground to pop, with a wide range of approaches and styles.

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Han, YoungKyun. "Current Status and significance of opening policy on Japanese pop culture." Japanese Cultural Studies 86 (April 30, 2023): 267–91. http://dx.doi.org/10.18075/jcs..86.202304.267.

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JUNG, Byeongho. "Koreans’ Reception of Japanese Cultural Contents Revealed through Text Mining." Border Crossings: The Journal of Japanese-Language Literature Studies 17, no. 1 (2023): 23–41. http://dx.doi.org/10.22628/bcjjl.2023.17.1.23.

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This paper analyzes how Koreans perceive Japanese cultural contents and popular culture, and what kind of image they have formed of it. For this purpose, this study used the blog of NAVER, Korea’s largest portal site, as its research subject, and collected and analyzed data from it using text mining. The word frequency and N-gram analysis results of the data collected in this study are as follows. The main keywords in this data are roughly divided into a cluster representing Japanese cultural contents/popular culture, a cluster of keywords representing Koreans’ attitude toward or opportunity t

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Piccardi, Duccio. "TEACHING SOUND SYMBOLISM THROUGH JAPANESE POP CULTURE. A RESPONSE TO KAWAHARA (2018)." Italiano LinguaDue 14, no. 2 (2023): 724–58. http://dx.doi.org/10.54103/2037-3597/19725.

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This paper provides a quantitative assessment of Shigeto Kawahara’s phonetics teaching method. A senior high school class from a liceo scientifico in Scandicci (Florence) was involved in a small language awareness program. The students were taught about basic concepts concerning sound symbolism and social meaning through two lessons differing in modality of presentation, i.e., a “standard” lesson vs. a lesson containing multiple Japanese pop examples (Kawahara method). Students attending the latter performed better in an assessment test; moreover, their response accuracy grew along with the nu

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AULIAWAN, ALTHAF GAUHAR, and TEGUH SANTOSO. "CORRELATION OF SOCIAL WELFARE WITH THE DEVELOPMENT OF JAPANESE POPULAR CULTURE AFTER WORLD WAR II." Philosophica: Jurnal Bahasa, Sastra, dan Budaya 6, no. 1 (2023): 54–65. https://doi.org/10.35473/po.v6i1.2452.

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Social welfare is a condition that humans strive to achieve a decent life in terms of material, social and spiritual aspects. After World War II, Japan was known as a country that experienced rapid economic and social welfare improvements. In addition, a wide range of Japanese popular culture products such as Manga & Anime, J-Pop, Video Games, and others have also grown and accompanied the established life of Japanese society. Therefore, Japanese popular culture has been supported and can spread to all corners of the world. This situation can indirectly improve the economy and existence of

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AULIAWAN, ALTHAF GAUHAR, and TEGUH SANTOSO. "CORRELATION OF SOCIAL WELFARE WITH THE DEVELOPMENT OF JAPANESE POPULAR CULTURE AFTER WORLD WAR II." Philosophica: Jurnal Bahasa, Sastra, dan Budaya 6, no. 1 (2023): 54–65. https://doi.org/10.35473/pho.v6i1.2452.

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Social welfare is a condition that humans strive to achieve a decent life in terms of material, social and spiritual aspects. After World War II, Japan was known as a country that experienced rapid economic and social welfare improvements. In addition, a wide range of Japanese popular culture products such as Manga & Anime, J-Pop, Video Games, and others have also grown and accompanied the established life of Japanese society. Therefore, Japanese popular culture has been supported and can spread to all corners of the world. This situation can indirectly improve the economy and existence of

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Koo, Jeung Mo, and Hyun Mo Koo. "K-pop from Local to Global." Columbia Journal of Asia 1, no. 1 (2022): 175–87. http://dx.doi.org/10.52214/cja.v1i1.9355.

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K-pop has received global attention during the past decades. It already transcended Korean boundaries and has achieved great success in the global market. Contrary to its brilliant achievement, Korean pop culture is stuck in a paradoxical situation. The more transnational it becomes externally, the more nationalistic it becomes internally. Nationalism has buttressed K-pop's growth, allowing it to venture out of Korea. Inversely, as K-pop makes its progress abroad, Koreans enjoy a boost in self-esteem. The increase in national pride, intertwined with the historical legacies from Japanese coloni

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Fregonese, Pierre-William, and Kazunari Sakai. "French Cultural Strategy and the Japanese Paradigm." ALTERNATIVE FRANCOPHONE 2, no. 9 (2021): 6–22. http://dx.doi.org/10.29173/af29420.

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France used to have one of the most powerful cultural diplomacy: it needs nowadays to modernize its strategy to hold on to its international position. France has a long history of foreign cultural policy and is one of the few countries that have placed great emphasis on fostering its culture abroad. However, the French position is currently being challenged by emerging international rivalries. Establishing a cultural strategy in the 21st century requires not only a consistent approach between the projection of an elite culture and of a pop culture, but also a joint action between public and pr

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Amalijah, Eva, and Mochammad Fredy. "Pemetaan Restoran Jepang dan Kuliner Milenial di Surabaya." Jurnal Sakura : Sastra, Bahasa, Kebudayaan dan Pranata Jepang 5, no. 1 (2023): 169. http://dx.doi.org/10.24843/js.2023.v05.i01.p10.

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The food that a person consumes has an influence in determining identity, existence, and legitimacy. As something that is important and influential for humans, food generally has characteristics to distinguish it from other foods. In this context, Japan has uniquely Japanese food that distinguishes it from food from other countries. Therefore, Japan as one of the countries that utilizes popular culture as its export commodity uses food as a tool of cultural diplomacy. This study examines the relationship between culinary choices among millennials and gender at Japanese restaurants in Surabaya.

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Oe, Hiroko, and Max Weeks. "Kawaii Culture in Japan: A Bibliometric Analysis and Text Mining Approach Based on Pop-Cultural Diplomacy and Transmission into Global Values." Budapest International Research and Critics Institute (BIRCI-Journal): Humanities and Social Sciences 3, no. 4 (2020): 3990–4004. http://dx.doi.org/10.33258/birci.v3i4.1495.

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This research aims to develop a discussion framework for Kawaii cultural study based on a bibliometric analysis and text mining approach. First, a bibliometric analysis is conducted on literature pertaining to ‘Kawaii and Japanese pop culture’ extracted from the academic database; from this standpoint, the current research topics in the field of Kawaii study are discussed. Second, we aim to provide direction for future research by mining the text data disseminated by three special exhibitions launched by Japanese museums on the theme of ‘Japanese Kawaii culture’ and planned by Kawaii cultural

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