By Jayson Makoto Chun
This e-book deals a heritage of eastern tv audiences and the preferred media tradition that tv helped to spawn. In a relatively brief interval, the tv helped to reconstruct not just postwar eastern pop culture, but additionally the japanese social and political panorama. through the early years of tv, eastern of all backgrounds, from politicians to moms, debated the consequences on society. the general public discourse surrounding the expansion of tv published its function in forming the identification of postwar Japan throughout the period of high-speed development (1955-1973) that observed Japan reworked into an monetary strength and one of many world's most sensible exporters of tv programming.
Read or Download 'A Nation of a Hundred Million Idiots'?: A Social History of Japanese Television, 1953-1973 (East Asia: History, Politics, Sociology, Culture) PDF
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This e-book bargains a historical past of jap tv audiences and the preferred media tradition that tv helped to spawn. In a relatively brief interval, the tv helped to reconstruct not just postwar jap pop culture, but in addition the japanese social and political panorama. through the early years of tv, jap of all backgrounds, from politicians to moms, debated the consequences on society.
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Additional resources for 'A Nation of a Hundred Million Idiots'?: A Social History of Japanese Television, 1953-1973 (East Asia: History, Politics, Sociology, Culture)
7 All of these represented diverse alternate lifestyles centered not on group service to the state, but rather on individual private lives and homes. The right-wing Japanese state of the 1930s found it necessary to officially prohibit this culture through government laws against consumerism and consumption of western culture, such as jazz. The appearance of a mass culture alongside the government-sponsored imperial culture of prewar Japan provoked among officials, intellectuals, and reformers many questions about the shape of the national community.
The Ministry used the rationale that Japanese, still a poor people, could not afford to indulge in a pleasure-seeking way of life, and that radio entertainment would only lure Japanese away from their jobs. 17 NHK focused on spreading an officially approved culture throughout the nation through the radio network. 18 Western classical music also became a radio staple, seen by the government as a means to spread modern culture to the rest of the nation. These actions revealed the government’s ambivalence toward mass culture.
During the days of imperial expansion of the 1930s, the government portrayed the emperor, the Japanese flag, and Shinto shrines as sacred symbols of the empire to be treated with reverence. Prewar officials labeled foreign imports like socialism and western music as contrary to the empire. Yet, in the confusing cultural atmosphere of the 1950s, one poll revealed that Western-style jazz singers evidenced a high degree of support for the emperor system. And how could one explain other cultural contradictions: the rockabilly singer who performed at a Shinto shrine, or the band of leftist laborers in a May Day demonstration who ended the day by furling their red flag and watching the nationalistic film, The Emperor Meiji and the Great Russo-Japanese War, which glorified imperial expansion?