Japan and China look back on a history of friendship as well as friction, particularly in recent decades. As the People's Republic of China's economy began to grow in the 1990s, so did its political weight within Asia and its economical relevance for Japan. Covering the years from 1989 to 2005, this book looks at Sino-Japanese relations through film and television drama in the crucial time of China's ascent to an economic superpower in opposition to Japan's own ailing economy. It provides an overview of how Japan views China through its visual media, offers explanations as to how oppositions between the two countries came to exist, and how and why certain myths about China have been conveyed. Griseldis Kirsch argues that the influence of visual media within society cannot be underestimated, nor should their value be lessened by them being perceived as part of 'popular culture'. Drawing on examples from a crucial 16 years in the history of post-war Japan and China, she explores to what extent these media were influenced by the political discourse of their time. In doing so, she adds another layer to the on-going debate on Sino-Japanese relations, bringing together disciplines such as media studies, history and area studies and thus filling a gap in existing research.

The Handbook of Japanese Media and Popular Culture in Transition brings together new research and perspectives on popular media phenomena, as well as shining a spotlight on texts that are less well known or studied. Organized into five thematic sections, the chapters span a diverse range of cultural genres, including contemporary film and television, postwar cinema, advertising, popular fiction, men's magazines, manga and anime, karaoke and digital media. They address issues critical to contemporary Japanese society: the politicization of history, authenticity and representation, constructions of identity, trauma and social disaffection, intersectionality and trans/nationalism. Drawing on methods and approaches from a range of disciplines, the chapters make explicit the interconnections between these areas of research and map out possible trajectories for future inquiry. As such, the handbook will be of value to both novice scholars and seasoned researchers, working within and/or beyond the Japanese media studies remit.

Assembling Japan focuses on Japan's modernization as a long-term process that is reliant on changing technology and that has led to the nation's full engagement with the global system. This process forms a complex field of tensions, full of interesting dynamisms and synergies that can be best understood through the book's methodology: anthropological analysis combined with historical contextualization. The approaches in this collection are manifold. Some chapters examine the themes of modernity, technology and Japan's global experience though popular culture, from reggae to football, from television to film. Other topics include coffee, travel, economics, cultural politics and technological innovation in the field of robotics. All of the contributions aim to show how these global interactions have occurred and continue to take place in twenty-first-century Japan.

Japan and China look back on a history of friendship as well as friction, particularly in recent decades. As the People's Republic of China's economy began to grow in the 1990s, so did its political weight within Asia and its economical relevance for Japan. Covering the years from 1989 to 2005, this book looks at Sino-Japanese relations through film and television drama in the crucial time of China's ascent to an economic superpower in opposition to Japan's own ailing economy. It provides an overview of how Japan views China through its visual media, offers explanations as to how oppositions between the two countries came to exist, and how and why certain myths about China have been conveyed. Griseldis Kirsch argues that the influence of visual media within society cannot be underestimated, nor should their value be lessened by them being perceived as part of 'popular culture'. Drawing on examples from a crucial 16 years in the history of post-war Japan and China, she explores to what extent these media were influenced by the political discourse of their time. In doing so, she adds another layer to the on-going debate on Sino-Japanese relations, bringing together disciplines such as media studies, history and area studies and thus filling a gap in existing research.