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

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Illustrations I.1 AKB48 will “save the nation,” from AERA (6 September 2010) 3 I.2 The wa of Japanese mass media self-referentiality 13 I.3 Television insets (waipu) and captions (tsukkomi terropu) 17 3.1 Arashi play Nintendo Wii in a television commercial and on their weekly variety show 73 3.2 Ayase Haruka in a television commercial for Ezaki Glico “Giant Cone” 78 9.1 Album cover of Moritaka Chisato’s Hijitsuryoku-ha Sengen (Non-Ability Proclamation) 191 9.2 A store selling photographs of AKB48 in Akihabara, Tokyo 198 9.3 An advertisement for a store selling “raw photographs” in Akihabara, Tokyo 199 9.4 A “perfumed picture” of AKB48 200 9.5 “Costume card” of Kawashima Umika 201 10.1 Hatsune Miku, the “virtual idol” 213 10.2 “Miim” the HRP-4C android engaged in cosplay as Hatsune Miku 214 vii
Foreword: Revisiting “Idology” It was back in 1988 that I decided to explore the conspicuous realm of popular cultural performance in contemporary urban Japan that was being represented by young media-promoted personalities called aidoru or “pop idols.” As a novice of symbolic anthropology, I considered idols to be personified symbols that operated as tricksters in the public initiation of Japanese youngsters. My dissatisfaction with the fact that the few academic sources I could find on idols back then were all anecdotal statements by their authors about how the social meanings of idols could be interpreted led me to cultivate a new field of empirical studies on the idol phenomenon. Naming this new field gūzōgaku or “idology,” I spent the next ten years conducting fieldwork in Japan’s entertainment industry and its surroundings, gathering concrete data on how young talents, their promoters, and supporting fans co-developed a domain in which idols were celebrated, commoditized, transformed into adolescent role models, and consumed. With many thanks to countless collaborators in Japan’s entertainment world as well as in academia, my venture resulted in the publication of Islands of Eight Million Smiles in 2005. This accomplishment was not free of shortcomings. In my book, I emphasized female idols, instead of male idols or queer icons, since it was the subject I knew best. My work has been criticized from time to time for its apparent focus on the aspects of conformity and its neglect of points of conflict—meaning that I had to open Pandora’s box by highlighting the “behind the scene” underside of idol performance, including such issues as ethnic minorities and mobster politics. Perhaps, it was my sense of moral and ethical boundaries that configured the seriousness of the ethnographic approach and my inclination towards culturalism (i.e., my emphasis on the idea that enculturation is a compulsory praxis), which I inherited from anthropology, that prevented me from exposing these perspectives. Idol performance has demonstrated new turns since I introduced its symbolic significance to the world, and changed in ways I would have never expected: instances are the growing popularity of Japanese pop idols alongside cutesy phenomena, manga and anime, as well as centers of “Cool Japan,” such as Shibuya and Akihabara, among European viii
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Page 6 and 7: Contents List of Illustrations vii
Page 10 and 11: Foreword: Revisiting “Idology”
Page 12 and 13: Acknowledgments xi the gendered dim
Page 14 and 15: Contributors Daniel Black lectures
Page 16 and 17: Notes on Contributors xv W. David M
Page 18 and 19: Introduction: The Mirror of Idols a
Page 50 and 51: Part I Systems
Page 52 and 53: 1 The Jimusho System: Understanding
Page 54 and 55: Jimusho: The Japanese Entertainment
Page 56 and 57: Jimusho: The Japanese Entertainment
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Jimusho: The Japanese Entertainment
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Jimusho’s preferred performer sty
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Notes Jimusho: The Japanese Enterta
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Sakai Noriko Media Scandal 57 2009,
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Sakai Noriko Media Scandal 59 progr
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Sakai Noriko Media Scandal 61 her w
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Sakai Noriko Media Scandal 63 Norik
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Sakai Noriko Media Scandal 65 Orche
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Sakai Noriko Media Scandal 67 super
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Sakai Noriko Media Scandal 69 2. Th
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Sakai Noriko Media Scandal 71 Holde
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Advertising, Idols, and the Making
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Notes Advertising, Idols, and the M
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Part II Desire
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4 Johnny’s Idols as Icons: Female
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Johnny’s Idols as Icons: Female D
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5 From Boys Next Door to Boys’ Lo
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Gender Performance in Japanese Male
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6 The Homo Cultures of Iconic Perso
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Mishima Yukio and Misora Hibari 133
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Part III Difference
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7 Idol as Accidental Activist: Agne
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Agnes Chan, Feminism, and Motherhoo
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Emotions, Desires, and Fantasies: Y
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Part IV Image
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9 Idols: The Image of Desire in Jap
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Idols: Desire in Japanese Consumer
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Figure 9.5 An example of a “costu
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10 The Virtual Idol: Producing and
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The Virtual Idol: Digital Femininit
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Index 2-channel (2-channeru), 122,
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Consumer Affairs Agency (Shōhishac
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Hong Kong, 1, 153-4, 156, 162, 167,
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Mitchell, Joni, 154 Miyazawa Rie, 5
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fan reactions to, 61-2, 80, 105 and
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w-inds, 49 Wink Up, 121 Winnicott,
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Idols%20and%20Celebrity%20in%20Japanese%20Media%20Culture

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