By Akira Yoshimura
"Japan is in ruins after the second one international struggle. Takuya, a demobilized officer returns to his local village in simple terms to profit that the profession professionals are intensifying their efforts to recognize suspected struggle criminals. Will they study of his involvement within the execution of yankee prisoners over the last days of the struggle? to prevent prosecution, Takuya turns into a fugitive in his personal country." "As he travels on crowded trains via a land of defeat, humiliation, and starvation, he fears that his earlier will meet up with him. And but Takuya doesn't believe like a felony. in the end, he had merely been following orders. Why may still a decent and dutiful guy be prosecuted via the very those who dropped atomic bombs on Hiroshima and Nagasaki, slaughtering numerous blameless civilians?"--BOOK JACKET.
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America is now ubiquitous as the unmarked model for (post)modern culture. It is an open question if this transformation of the nature of America’s global cultural influence is the pinnacle of Americanization or the demise of Americanization. Smart (1993) criticizes Baudrillard by arguing that an exclusive comparison between Europe and America leads to a failure to realize the limits and decline of all-powerful Western/American modernity. Baudrillard is, deliberately or not, ‘‘indi√erent to the possibility that America may no longer be the model for business, performance, and international style, no longer the ‘uncontested and uncontestable’ model of modernity’’ (Smart 1993, 66).
I interviewed more than 110 people who work for tv stations, in the music industry, and for publishing companies and advertising agencies in Tokyo, Taiwan, Hong Kong, Singapore, and Malaysia. The interviews posed questions concerning the promotion and reception of both Japanese popular culture in East Asia and of Southeast Asian popular culture in Japan. , coproduced by Japan, Singapore, Indonesia, and Malaysia. In addition, I conducted informal, in-depth interviews with eighteen female and three male viewers (whose ages ranged from seventeen to the late twenties) concerning Japanese tv dramas in Taipei, and with twenty-four female ‘‘fans’’ (whose ages ranged from the early-twenties to the fifties) concerning Hong Kong films and pop music singers in Tokyo.
This is a period during which the historical process of globalization, as defined by Hall Taking ‘‘Japanization’’ seriously 35 (1995), has been accelerated by several interconnected factors. These include the global integration of markets and capital by powerful transnational corporations; the development of communication technologies which easily and simultaneously connect all over the globe; the emergence of an affluent middle class in non-Western countries, especially in Asia; and the increasing number of people moving from one place to another by migration and tourism.