Luis Borromeo was the Philippines’s “King of Jazz,” who at the height of his popularity created a Filipino answer to the Ziegfeld Follies. Miss Riboet was a world-famous Javanese opera singer who ruled the theater world. While each represented a unique corner of the entertainment world, the rise and fall of these two superstar figures tell an important story of Southeast Asia’s 1920s Jazz Age.
This artistic era was marked by experimentation and adaption, and this was reflected in both Borromeo’s and Riboet’s styles. They were pioneering cultural brokers who dealt in hybrids. They were adept at combining high art and banal entertainment, tradition and modernity, and the foreign and the local.
Leaning on cultural studies and the work on cosmopolitanism and modernity by Henry Jenkins and Joel Kahn, Peter Keppy examines pop culture at this time as a contradictory social phenomenon. He challenges notions of Southeast Asia’s popular culture as lowbrow entertainment created by elites and commerce to manipulate the masses, arguing instead that audiences seized on this popular culture to channel emancipatory activities, to articulate social critique, and to propagate an inclusive nationalism without being radically anticolonial.

The serial narrative is one of the most robust and popular forms of storytelling in contemporary China. With a domestic audience of one billion-plus and growing transnational influence and accessibility, this form of storytelling is becoming the centerpiece of a fast-growing digital entertainment industry and a new symbol and carrier of China’s soft power. Televising Chineseness: Gender, Nation, and Subjectivity explores how television and online dramas imagine the Chinese nation and form postsocialist Chinese gendered subjects. The book addresses a conspicuous paradox in Chinese popular culture today: the coexistence of increasingly diverse gender presentations and conservative gender policing by the government, viewers, and society. Using first-hand data collected through interviews and focus group discussions with audiences comprising viewers of different ages, genders, and educational backgrounds, Televising Chineseness sheds light on how television culture relates to the power mechanisms and truth regimes that shape the understanding of gender and the construction of gendered subjects in postsocialist China.

Thirty-two New Takes on Taiwan Cinema covers thirty-two films from Taiwan, addressing a flowering of new talent, moving from art film to genre pictures, and nonfiction. Beyond the conventional framework of privileging “New and Post-New Cinema,” or prominence of auteurs or single films, this volume is a comprehensive, judicious take on Taiwan cinema that fills gaps in the literature, offers a renewed historiography, and introduces new creative force and voices of Taiwan’s moving image culture to produce a leading and accessible work on Taiwan film and culture.

Film-by-film is conceived as the main carrier of moving picture imagery for a majority of viewers, across the world. The curation offers an array of formal, historical, genre, sexual, social, and political frames, which provide a rich brew of contexts. This surfeit of meanings is carried by individual films, one by one, which breaks down abstractions into narrative bites and outsized emotions.

From broadcast to social media, comedy plays a prominent role in Japan’s cultural landscape and political landscape. The Time of Laughter explores how comedy grew out of the early days of television to become a central force in shaping Japanese media over the past half-century. Comedy and its impact, David Humphrey argues, established a “time of laughter” in the media of the late twentieth and early twenty-first centuries in Japan. Through masterful interrogation of Japanese televisual archives and media discourse, Humphrey demonstrates that the unique temporality of laughter has had a profound role in the cultural atmosphere of Japan’s recent past. Laughter both complemented and absorbed the profound tensions and contradictions that emerged in Japanese television. Joyous and cacophonous, reaffirming and subverting, laughter simultaneously alienated and unified viewers. Through its exploration of the influence of comedy and the culture of laughter, The Time of Laughter presents a vibrant new take on Japan’s recent media history.

Fusako Innami offers the first comprehensive study of touch and skinship—relationality with the other through the skin—in modern Japanese writing. The concept of the unreachable—that is, the lack of characters’ complete ability to touch what they try to reach for—provides a critical intervention on the issue of intimacy. Touch has been philosophically addressed in France, but literature is an effective—or possibly the most productive—venue for exploring touch in Japan, as literary texts depict what the characters may be concerned with but may not necessarily say out loud. Such a moment of capturing the gap between the felt and the said—the interaction between the body and language—can be effectively analyzed by paying attention to layers of verbalization, or indeed translation, by characters’ utterances, authors’ depictions, and readers’ interpretations. Each of the writers discussed in this book—starting with Nobel prize winner Kawabata Yasunari, Tanizaki Jun’ichirō, Yoshiyuki Junnosuke, and Matsuura Rieko—presents a particular obsession with objects or relationality to the other constructed via the desire for touch.

In Touching the Unreachable, phenomenological and psychoanalytical approaches are cross-culturally interrogated in engaging with literary touch to constantly challenge what may seem like the limit of transferability regarding concepts, words, and practices. The book thereby not only bridges cultural gaps beyond geographic and linguistic constraints, but also aims to decentralize a Eurocentric hegemony in its production and use of theories and brings Japanese cultural and literary analyses into further productive and stimulating intellectual dialogues. Through close readings of the authors’ treatment of touch, Innami develops a theoretical framework with which to examine intersensorial bodies interacting with objects and the environment through touch.

Toward a Gameic World bridges the gap between Japanese popular culture studies and game studies by encouraging a dialogue centered around Japanese-designed video games and social issues. It examines four contemporary Japanese video games in terms of how they engage with some of Japan’s biggest social and personal issues, including traumas: natural disasters (Disaster Report), a declining birthrate and aging population (Catherine), nuclear proliferation (Metal Gear Solid V); and youth social withdrawal (The World Ends with You). This book asks what some of the positive benefits are of working through a site of trauma from within a video game, and how games might teach us about Japanese culture and society through new kinds of interactive narratives, different from literature and film. The book proposes four new strategies of engagement with video games to explore the productive tensions that emerge at the boundaries of virtual reality, augmented reality, and gamification in contemporary Japan.

When the first wave of post-1965 Korean immigrants arrived in the New York-New Jersey area in the early 1970s, they were reliant on retail and service businesses in the minority neighborhoods where they were. This caused ongoing conflicts with customers in black neighborhoods of New York City, with white suppliers at Hunts Point Produce Market, and with city government agencies that regulated small business activities. In addition, because of the times, Korean immigrants had very little contact with their homeland. Korean immigrants in the area were highly segregated from both the mainstream New York society and South Korea. However, after the 1990 Immigration Act, Korean immigrants with professional and managerial backgrounds have found occupations in the mainstream economy. Korean community leaders also engaged in active political campaigns to get Korean candidates elected as city council members and higher levels of legislative positions in the area. The Korean community's integration into mainstream society also increasingly developed stronger transnational ties to their homeland and spurred the inclusion of "everyday Korean life" in the NY-NJ area.

Transnational Cultural Flow from Home examines New York Korean immigrants’ collective efforts to preserve their cultural traditions and cultural practices and their efforts to transmit and promote them to New Yorkers by focusing on the Korean cultural elements such as language, foods, cultural festivals, and traditional and contemporary performing arts.

This publication was supported by the 2022 Korean Studies Grant Program of the Academy of Korean Studies (AKS-2022-P-009).

 

Transpacific Cartographies examines how contemporary Chinese diasporic narratives address the existential loss of home for immigrant communities at a time of global precarity and amid rising Sino-US tensions. Focusing on cultural productions of the Chinese diaspora from the 1990s to the present -- including novels by the Sinophone writers Yan Geling (The Criminal Lu Yanshi), Shi Yu (New York Lover), Chen Qian (Listen to the Caged Bird Sing), and Rong Rong (Notes of a Couple), as well as by the Anglophone writer Ha Jin (A Free Life; A Map of Betrayal), selected TV shows (Beijinger in New York; The Way We Were), and online literature -- Melody Yunzi Li argues that the characters in these stories create multilayered maps that transcend the territorial boundaries that make finding a home in a foreign land a seemingly impossible task. In doing so, these “maps” outline a transpacific landscape that reflects the psycho-geography of homemaking for diasporic communities. Intersecting with and bridging Sinophone studies, Chinese American studies, and diaspora studies and drawing on theories of literary cartography, Transpacific Cartographies demonstrates how these “maps” offer their readers different paths for finding a sense of home no matter where they are.