Idols%20and%20Celebrity%20in%20Japanese%20Media%20Culture

Foreword: Revisiting “Idology” ix
and American audiences in a form that may be called neo-Orientalism;
the influx of Korean idols, such as BoA, Jinki, Kara, and Shōjo Jidai,
into Japan’s pop idol scene; the transformation of idol imagery from
cutesy to more sexy, classy, and/or hip personal configurations alongside
emergent hybrid buzzwords, such as erokawa (sexy-cutesy), kirekawa
(classy-cutesy), and kawakakoii (cutesy-trendy), as manifested in neoidols,
such as Amuro Namie, AYU, and Kōda Kumi; and the revival
of cutesy idols in forms represented by Morning Musume and AKB48.
For someone who expected that the clumsy representation of cutesy
idols would fade away before long by becoming passé—and who commissioned
idology with the classical anthropological task of recording
traditions, customs, and lifestyles that would never be rightly understood
once lost or forgotten—these new changes in idol performance
demand a new wave of extensive research on the idol phenomenon.
In this sense, this volume is something I was waiting to see for a
long time: a set of case studies by the next generation of idologists
who have managed to expose what I could not, carried theorization on
idol-pop phenomena a step further, and achieved what many students
who majored in media studies, cultural studies, and cultural anthropology
could only touch on at the level of term papers and theses.
I am convinced that this volume will provide an invaluable contribution
in our ongoing Baconian venture to deduce the mechanism of idol
mystification.
Aoyagi Hiroshi