Asian popular culture is on the rise. This is easily recognizable for example when looking at the gained popularity of Japanese animated movies from Studio Ghibli in the last decade or two or the recent worldwide Pokémon Go app trend (and the franchises it follows). While these practices may not come as a shock to you, since globalized culture is not frowned upon anymore these days, it is interesting to see how culture in media is able to mix and mediate from both perspectives, West and East. One way of doing exactly this, is by applying the discourse of cultural imperialism.[1] Important in these discussions however, is of course that it is hard to prove there is such thing as something typical Western or Eastern. Jin (2013) notes that cultural imperialism as a concept might even already be far gone to be applied in media studies. The reason for this is that many different contemporary Asian cultural markets have too wide of a spectrum already in languages, economies and political situation in order it to be seen as a whole in researching specific cultural dominance. [2]
Taking the films of Studio Ghibli as an example of cultural imperialism, with well known films such as Spirited Away (2001), Howl’s Moving Castle (2004) and more recently The Wind Rises (2013) which were, and still are widespread in North-America and Europe, we can see another interesting factor uncovered. [3] Namely, the export of a cultural product originating from the East, which is in itself is heavily influenced by the West. Though, we must not forget that Japan is currently one of the most ‘Westernized’ countries in the East. Jin (2009) notices that Japan is even seen as Western or ‘European’ in surrounding countries like Taiwan and Singapore, since popular culture in Japan copies certain skills, formats and styles that are used in Western culture.[4] When we look at How’s Moving Castle (2004) there is something unique going on: certain images, scenes and characters strongly seem to resemble one of Victorian times, such as in England in the 1850-1900’s when looking at clothing and architecture. Simultaneously, there is a strong Western influence and perhaps a certain idealization of Victorian history and culture that is woven into Miyazaki's story, while at the same time the movie as a Japanese production itself is watched by many non-Japanese in the West.
Stills from Howl’s Moving Castle (Hayao Miyazaki: 2004).
As imperialism itself suggest a ´power or authority, with a view to domination of one country over another´ (Wasko, 2008), Jin extends the notion cultural imperialism by paraphrasing Schiller. '(..) the sum of processes by which a society is brought into the modern world system and how its dominating stratum is attracted, pressured, forced, and sometimes bribed into shaping social institutions to correspond to, or even promote, the values and structures of the dominant centre of the system' (Schiller, 1976).[5] While Schiller's definition was mainly made with the United States as dominant culture in mind, it is applicable on multiple levels.
[1] Dal Yong Jin (2013), ‘A Critical Analysis of Cultural Imperialism: From the Asian Frontlines', in: Vicki Mayer (ed.), The International Encyclopedia of Media Studies, Volume II: Media Production. Malden & Chichester: Whiley-Blackwell.
[2] Ibid: p. 2
[4] Dai Yong Jin (2013): p. 6.
[5] Dai Yong Jin (2013): p. 2.
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