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To what extent has pop culture & toxic fandom impacted Idols?

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To what extent has pop culture & toxic fandom impacted Idols?

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Abstract

What constitutes and/or determines one person's identity and uniqueness in the discourses of Japanese popular culture? Are individuals attributed with a potential for self-fashioning in dialogue with their surrounding community, or are they rather interpellated by social formations and influences? Situating narratives within the prevailing pressures to conform which are imposed intentionally or unintentionally on individuals in Japanese society, and the individuals' internalised conflicts over their identities, this paper contrasts how Japanese animations, Nausicaä of the Valley of Wind (1984 hereafter Nausicaä) and Perfect Blue (1998) produce the characterisation of the principal female characters, Nausicaä and Mima respectively, in terms of subjectivity and abjection. Both films were based on earlier written texts (manga and novel), but discussion in this paper will focus only on the animations.

Cite this

@article{c8a4077720f8436baa7391a2329b5780,

title = "Japanese popular culture and character fashioning: the quest for subjective agency in the animated films, {"}Nausica{\"a} of the Valley of Wind{"} and {"}Perfect Blue{"}",

abstract = "What constitutes and/or determines one person{\textquoteright}s identity and uniqueness in the discourses of Japanese popular culture? Are individuals attributed with a potential for self-fashioning in dialogue with their surrounding community, or are they rather interpellated by social formations and influences? Situating narratives within the prevailing pressures to conform which are imposed intentionally or unintentionally on individuals in Japanese society, and the individuals{\textquoteright} internalised conflicts over their identities, this paper contrasts how Japanese animations, Nausica{\"a} of the Valley of Wind (1984 hereafter Nausica{\"a}) and Perfect Blue (1998) produce the characterisation of the principal female characters, Nausica{\"a} and Mima respectively, in terms of subjectivity and abjection. Both films were based on earlier written texts (manga and novel), but discussion in this paper will focus only on the animations.",

keywords = "characterisation, subjectivity, abjection, Japanese popular culture, Anime (Japanese animation), Nausica{\"a} of the Valley of Wind, Perfect Blue",

author = "Mio Bryce and John Stephens",

journal = "International journal of the humanities",

publisher = "Common Ground Publishing",

}

TY - JOUR

T1 - Japanese popular culture and character fashioning

T2 - the quest for subjective agency in the animated films, "Nausicaä of the Valley of Wind" and "Perfect Blue"

AU - Bryce, Mio

AU - Stephens, John

PY - 2005

Y1 - 2005

N2 - What constitutes and/or determines one person's identity and uniqueness in the discourses of Japanese popular culture? Are individuals attributed with a potential for self-fashioning in dialogue with their surrounding community, or are they rather interpellated by social formations and influences? Situating narratives within the prevailing pressures to conform which are imposed intentionally or unintentionally on individuals in Japanese society, and the individuals' internalised conflicts over their identities, this paper contrasts how Japanese animations, Nausicaä of the Valley of Wind (1984 hereafter Nausicaä) and Perfect Blue (1998) produce the characterisation of the principal female characters, Nausicaä and Mima respectively, in terms of subjectivity and abjection. Both films were based on earlier written texts (manga and novel), but discussion in this paper will focus only on the animations.

AB - What constitutes and/or determines one person's identity and uniqueness in the discourses of Japanese popular culture? Are individuals attributed with a potential for self-fashioning in dialogue with their surrounding community, or are they rather interpellated by social formations and influences? Situating narratives within the prevailing pressures to conform which are imposed intentionally or unintentionally on individuals in Japanese society, and the individuals' internalised conflicts over their identities, this paper contrasts how Japanese animations, Nausicaä of the Valley of Wind (1984 hereafter Nausicaä) and Perfect Blue (1998) produce the characterisation of the principal female characters, Nausicaä and Mima respectively, in terms of subjectivity and abjection. Both films were based on earlier written texts (manga and novel), but discussion in this paper will focus only on the animations.

KW - characterisation

KW - subjectivity

KW - abjection

KW - Japanese popular culture

KW - Anime (Japanese animation)

KW - Nausicaä of the Valley of Wind

KW - Perfect Blue

M3 - Article

VL - 1

SP - 311

EP - 321

JO - International journal of the humanities

JF - International journal of the humanities

ER -

# data[].attributes.attachment_link.title
Japanese popular culture and character fashioning: the quest for subjective agency in the animated films, "Nausicaä of the Valley of Wind" and "Perfect Blue"

# data[].attributes.attachment_link.description
What constitutes and/or determines one person's identity and uniqueness in the discourses of Japanese popular culture? Are individuals attributed with a potential for self-fashioning in dialogue with their surrounding community, or are they rather interpellated by social formations and influences?

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Description or Abstract

A frightening truth remains that within horror-thriller films the experience of women is at the heart of the horrifying. This project analyses the effects of film media on the construction, fetishization, and destruction of female figures and engages with feminist critical concepts, such as Laura Mulvey's "male gaze" and Linda Williams' "body horror," to evaluate Alfred Hitchcock's film Vertigo (1958) and Satoshi Kon's anime Perfect Blue (1997). Importantly, this essay critiques the misogynistic inner-workings of the horror-thriller genre typified in Vertigo-that evokes visual pleasure from objectification, victimization, and physical, often sexual, violence-and contrasts it with Kon's anime. This paper finds that Perfect Blue, a foil of Vertigo, appropriates and intensifies the machinery of the genre to a critical effect, transforming visual gratification into legitimate, objectionable fear. Through close consideration of cinematography, mise-en-scène, animation, thematics, and visual tropes, this article exposes the underlying patriarchal structure operating within horror-thriller films and considers the future feminist potential of scary cinema.

Digital USD Citation

Hankins, Sarah, ""Torture the Women": A Gaze at the Misogynistic Machinery of Scary Cinema" (2019). Copley Library Undergraduate Research Awards. 1.
https://digital.sandiego.edu/library-research-award/1

# data[].attributes.attachment_link.title
"Torture the Women": A Gaze at the Misogynistic Machinery of Scary Cinema

# data[].attributes.attachment_link.description
A frightening truth remains that within horror-thriller films the experience of women is at the heart of the horrifying. This project analyses the effects of film media on the construction, fetishization, and destruction of female figures and engages with feminist critical concepts, such as Laura Mulvey's "male gaze" and Linda Williams' "body horror," to evaluate Alfred Hitchcock's film Vertigo (1958) and Satoshi Kon's anime Perfect Blue (1997).

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Toxic Fans: Distinctions and Ambivalence | Arouh | Ex-centric Narratives: Journal of Anglophone Literature, Culture and Media

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Toxic Fans: Distinctions and Ambivalence

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Perfect Blue and the negative representation of fans

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(2012). Perfect Blue and the negative representation of fans. Journal of Japanese and Korean Cinema: Vol. 4, No. 1, pp. 69-86.

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Popular Culture via the Lens of Marxism, Postmodernism, and Psychoanalysis

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Popular Culture via the Lens of Marxism, Postmodernism, and Psychoanalysis

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With globalization and commercialization of culture, every aspect of culture seems to be merged into one single realm. Popular culture is largely commercialized. In the recent years, the kpop culture has helped frame a form of consumption that is related to achieving a spectacular experience. People want a high of sorts, a glamorous experience and an affluence status.

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Japanese Pop Culture: Two subculture combined/collaboration

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Japanese Pop Culture: Two subculture combined/collaboration