AnimeEXPO 2014 Anime and Manga Studies Symposium, Jul 5, 2014
In his book Otaku: Japan’s Database Animals (2001), Japanese postmodern philosopher and cultural ... more In his book Otaku: Japan’s Database Animals (2001), Japanese postmodern philosopher and cultural critic Azuma Hiroki draws on the Baudrillardian theory of the hyperreal, claiming that the proliferation of both “official” and “unofficial” otaku culture has devalued the notion of canon in Japan, creating a perfect example of a postmodern cultural environment in which the mythical original is no longer desired above the copies and all production is openly hyperreal as a result. Azuma argues that almost all of Japan’s popular images come from a “database” of these hyperreal simulacra: a sort of collective consumer memory of the recent history and perceived value of elements of popular images in Japan’s mass media. In this system, everyone is a producer of culture, even the consumers, and all are accessing the same database of information in order to remix elements. Crucially, however, the scope of the book covers only male fans (otaku) physically or virtually located in Japan; but what of those producing culture elsewhere? Who are they, and what (or whose) database, if any, are they drawing and remixing from? In this paper I strive to extend Azuma’s database theory beyond the borders of Japan, paying particular attention to the production and consumption of “Japanicized” images in global (though often gendered) online communities like 4chan and Tumblr. The database, itself a remixable simulacrum, makes a useful model for critically approaching all kinds of societies, but it is important to note how the identities of each producing/consuming population impacts the remixing process to create customized “flavors” of Japanicized images unique to each community.
Salaryman at the Black Factory: Absurdist Loserdom and Labor Politics in Osomatsu-san
Having been rebooted from the Showa-era manga and anime franchise originally titled Osomatsu-kun ... more Having been rebooted from the Showa-era manga and anime franchise originally titled Osomatsu-kun (1966), Osomatsu-san’s (2015) first self-reflexive question is to ask how an anime from 1966 could possibly fit into contemporary Japanese culture. This rather postmodern question of “fit” within outdated traditional models continually haunts the characters of the series, and is emblematic of larger social concerns within Japan in recent years. Despite the substitution of the juvenile '-kun' honorfic for the mature '-san', the loserdom of the main characters—who are neither employed, in vocational training, nor in school—is evident from their failure to transition to the model of the successful Japanese adult male: the image of the lifetime salaryman. The incredible popularity of the remake attests to its timeliness, particularly given increased public concern with the rise of NEETism (“not participating in employment, education, or vocational training”) among the youth of the rapidly aging population. Markedly different from its predecessor, the failures of the characters in Osomatsu-san go beyond comical, inconsequential mischief; their inability to find sustainable work leads to dark humor built upon an ideology of meaninglessness.
Drawing on the work of Anne Allison and Matanle, McCann, and Ashmore, this presentation investigates the archetype of the “loser” in Osomatsu-san. Tensions inherent in the image of the salaryman—simultaneously a signifier of socio-economic stability, yet also of soulless drudgery—paradoxically position it as a personally unfulfilling career, and also a desirable marker of traditional (masculine) success that is no longer attainable for a young workforce in Japan’s late capitalist, neoliberal economy. Osomatsu-san’s structure and content preclude any possibility of financial or personal success for its characters, offering a revealing critique of contemporary labor politics in a "post-corporate" Japan.
A close reading of Tarantino’s body of work, taken individually and collectively, reveals a deep ... more A close reading of Tarantino’s body of work, taken individually and collectively, reveals a deep engagement with politics and pleasures alike from the very beginning. Yet, despite their common location outside the mainstream within the realm of the Hip, the two function very differently in the case of Tarantino's films. Politics, though located outside the normative, fails to lead to coherent ideology. This transgressive position thus serves an obfuscating function: we understand little of Tarantino’s politics, except that they are Hip politics. Conversely, pleasures positioned outside the mainstream serve an illuminating function: only because the transgressive pleasures are located outside the mainstream do we know they are Hip, and appreciate them thusly. The paper explores the complex ideological relationship between politics and pleasures in light of the Hip, particularly as presented in Norman Mailer's controversial 1957 article, "The White Negro: Superficial Reflections on the Hipster".
AnimeEXPO 2014 Anime and Manga Studies Symposium, Jul 5, 2014
In his book Otaku: Japan’s Database Animals (2001), Japanese postmodern philosopher and cultural ... more In his book Otaku: Japan’s Database Animals (2001), Japanese postmodern philosopher and cultural critic Azuma Hiroki draws on the Baudrillardian theory of the hyperreal, claiming that the proliferation of both “official” and “unofficial” otaku culture has devalued the notion of canon in Japan, creating a perfect example of a postmodern cultural environment in which the mythical original is no longer desired above the copies and all production is openly hyperreal as a result. Azuma argues that almost all of Japan’s popular images come from a “database” of these hyperreal simulacra: a sort of collective consumer memory of the recent history and perceived value of elements of popular images in Japan’s mass media. In this system, everyone is a producer of culture, even the consumers, and all are accessing the same database of information in order to remix elements. Crucially, however, the scope of the book covers only male fans (otaku) physically or virtually located in Japan; but what of those producing culture elsewhere? Who are they, and what (or whose) database, if any, are they drawing and remixing from? In this paper I strive to extend Azuma’s database theory beyond the borders of Japan, paying particular attention to the production and consumption of “Japanicized” images in global (though often gendered) online communities like 4chan and Tumblr. The database, itself a remixable simulacrum, makes a useful model for critically approaching all kinds of societies, but it is important to note how the identities of each producing/consuming population impacts the remixing process to create customized “flavors” of Japanicized images unique to each community.
Salaryman at the Black Factory: Absurdist Loserdom and Labor Politics in Osomatsu-san
Having been rebooted from the Showa-era manga and anime franchise originally titled Osomatsu-kun ... more Having been rebooted from the Showa-era manga and anime franchise originally titled Osomatsu-kun (1966), Osomatsu-san’s (2015) first self-reflexive question is to ask how an anime from 1966 could possibly fit into contemporary Japanese culture. This rather postmodern question of “fit” within outdated traditional models continually haunts the characters of the series, and is emblematic of larger social concerns within Japan in recent years. Despite the substitution of the juvenile '-kun' honorfic for the mature '-san', the loserdom of the main characters—who are neither employed, in vocational training, nor in school—is evident from their failure to transition to the model of the successful Japanese adult male: the image of the lifetime salaryman. The incredible popularity of the remake attests to its timeliness, particularly given increased public concern with the rise of NEETism (“not participating in employment, education, or vocational training”) among the youth of the rapidly aging population. Markedly different from its predecessor, the failures of the characters in Osomatsu-san go beyond comical, inconsequential mischief; their inability to find sustainable work leads to dark humor built upon an ideology of meaninglessness.
Drawing on the work of Anne Allison and Matanle, McCann, and Ashmore, this presentation investigates the archetype of the “loser” in Osomatsu-san. Tensions inherent in the image of the salaryman—simultaneously a signifier of socio-economic stability, yet also of soulless drudgery—paradoxically position it as a personally unfulfilling career, and also a desirable marker of traditional (masculine) success that is no longer attainable for a young workforce in Japan’s late capitalist, neoliberal economy. Osomatsu-san’s structure and content preclude any possibility of financial or personal success for its characters, offering a revealing critique of contemporary labor politics in a "post-corporate" Japan.
A close reading of Tarantino’s body of work, taken individually and collectively, reveals a deep ... more A close reading of Tarantino’s body of work, taken individually and collectively, reveals a deep engagement with politics and pleasures alike from the very beginning. Yet, despite their common location outside the mainstream within the realm of the Hip, the two function very differently in the case of Tarantino's films. Politics, though located outside the normative, fails to lead to coherent ideology. This transgressive position thus serves an obfuscating function: we understand little of Tarantino’s politics, except that they are Hip politics. Conversely, pleasures positioned outside the mainstream serve an illuminating function: only because the transgressive pleasures are located outside the mainstream do we know they are Hip, and appreciate them thusly. The paper explores the complex ideological relationship between politics and pleasures in light of the Hip, particularly as presented in Norman Mailer's controversial 1957 article, "The White Negro: Superficial Reflections on the Hipster".
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Drawing on the work of Anne Allison and Matanle, McCann, and Ashmore, this presentation investigates the archetype of the “loser” in Osomatsu-san. Tensions inherent in the image of the salaryman—simultaneously a signifier of socio-economic stability, yet also of soulless drudgery—paradoxically position it as a personally unfulfilling career, and also a desirable marker of traditional (masculine) success that is no longer attainable for a young workforce in Japan’s late capitalist, neoliberal economy. Osomatsu-san’s structure and content preclude any possibility of financial or personal success for its characters, offering a revealing critique of contemporary labor politics in a "post-corporate" Japan.
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Drawing on the work of Anne Allison and Matanle, McCann, and Ashmore, this presentation investigates the archetype of the “loser” in Osomatsu-san. Tensions inherent in the image of the salaryman—simultaneously a signifier of socio-economic stability, yet also of soulless drudgery—paradoxically position it as a personally unfulfilling career, and also a desirable marker of traditional (masculine) success that is no longer attainable for a young workforce in Japan’s late capitalist, neoliberal economy. Osomatsu-san’s structure and content preclude any possibility of financial or personal success for its characters, offering a revealing critique of contemporary labor politics in a "post-corporate" Japan.