ABSTRACTS - oia - Portland State University

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ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR utilizing manga in surveys of premodern, early modern, and modern Japanese literature at the University of Washington, I discuss techniques for making manga pertinent to the instruction of Japanese literature. I present my findings from the classroom about the pros and cons of using supplementary texts and approaches such as Scott McCloud’s Understanding Comics, Adam Kern’s recent study of Edo-period kibyoshi (Manga from the Floating World), and Otsuka Eiji’s view of ladies’ comics (“discovery of interiority”). With their incorporation/exploitation of both the textual and pictorial registers, manga are a unique means for students to gain more immediate access to literature. At their best, manga shed light on how storytellers structure their narratives, while their popular appeal acts as a powerful incentive in exciting new students to the study of more traditional forms of literature. Thus, manga serve as nexus between the written word and the visual icon, providing fresh insight into what makes a narrative and playing an indispensible role in creating sustainable literary courses at colleges and universities. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Jonathan Jimin Hong Kurosawa to Emmerich, Anime to Green Screen, and 1990 to 2010: The Trajectory of Apocalyptic and Post-apocalyptic Cinema in Japan, Korea, and Hollywood Whether the problem is a solar flare or decepticon and whether the setting is Mayan civilization or RG. Well's prophetic future, one thing is clear: Apocalyptic and post-apocalyptic films have been painted onto the movie screen ever since the art and science of film have been able to match the technology and business of its industry. The 1990s and 2000s have especially marked twenty years of digital achievement in application and complexity, allowing filmmakers to use techniques to portray their visions of the world, whether it ends or not. Like Hollywood, the cinemas of Japan and Korea have been experiencing more opportunities and inspirations for creativity due to the progression of technology and rise in high-concept films from 1990 to 2009. Just as the frequency of apocalyptic films increases in Hollywood as investors and technologyentrepreneurs discover new breakthroughs, the trajectory of apocalyptic films in East Asia is heading towards a newer standard to what constitutes "the bigger, stronger, louder, and quickly profiteerable" film. Hence, it is now crucial to investigate the relationship between Korea's and Japan's film industries through the apocalypse genre and to study its impact on their nations' economy as well. Will more high-concept films, such as Haeundae (2009), which is rendered nostalgically as a low-budget version of Roland Emmerich's The Day After Tomorrow (2004), continue to emulate Hollywood films and break South Korean box-office records? Will Japan's successful apocalyptic and post-apocalyptic anime industry (e.g. Akira, Appleseed) evolve into the increased production of high-concept non-anime films, unlike their less costly yet still apocalyptic counterparts (e.g. Karisuma)? And will the cinemas of the East and West experience a greater filmic crossing of transnational borders to ultimately communicate the spatially and temporally universal dream of humanity: The notion of an apocalypse? Whatever the relationships turn out to be, it is crucial to understand this postmodern phenomenon, for the history of cinema has existed since the history of man. And if the history of man is to end one day, then this historiography of apocalyptic genres has the right to be explained. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Lynne Horiuchi 1746 Post Street, San Francisco: A Building Awash in Diasporic Tides We often think of buildings as fixed spaces, yet they may be linked to diasporic connections and flows. In this paper I will explore how buildings at 1746 Post Street in San Francisco in Japantown (Nihon-jin Machi) have harbored several different stages and types of Japanese diasporic settlement and movement. In 1923 the Japanese First Evangelical and Reform Church, one of the largest Christian churches in San Francisco, built an auxiliary Education Building to serve the Japan (Nihon-jin Machi) community. With the U.S. government's removal and incarceration of Japanese American communities, the building was 14
ASPAC Conference 2010 June 18 – 20, 2010 | Portland, OR converted in 1942 into a storage site and, at the end of World War II, into a hostel. With the church's diminished finances and fragmentation of their community, the Education Building was sold in 1956. Through redevelopment. the Hohl'bei Mainichi, a daily Japanese-English newspaper, converted the Education Building into their headquarters in 1976. The building became a community institution once again, witnessing the progression of printing technology from handset Japanese type to digital production serving the regional Japanese American community. The New People Center. a commercial center for manga or Japanese comic book culture, replaced the Education Building in 2009. What are and where the local, regional, national and internationa1 diasporic flows that link to this bui1ding site? How did Japanese diasporic connections flow in and out of these buildings when owned by Japanese and Japanese American entities? How did Japanese citizenship historically affect Japanese diasporic flows connected to this building site? ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Henry L. HU The Business of Governing ISPs in China: Perspectives of Net Neutrality Internet service providers (ISPs) have played an important role in China’s Internet regulation regime. In this article, I illustrate how the ISPs are governed to serve the government’s regulatory goals. Drawing the contours of ISPs’ daily operations is far from enough for us to fully understand the intent and logic of Internet regulation by means of ISPs. The task of explanation involves some of the most extraordinary and profound insights concerning Internet governance, that is, the theories of Layers Principle, the End-to-end Argument and the Generative Internet, which to a certain extent justify the regulations in favor of net neutrality. Although these theories have not been applied in any literature to Chinese Internet, I believe they will prove to be powerful tools and useful perspectives to analyze the status quo of Chinese Internet regulation. Chinese ISPs have been the dependent rather than neutral regulatory intermediaries of the government. Their political action and commercial behaviors can compromise the function of Internet as an open and innovative platform for culture production, free expression and creative industry. Moreover, in addition to telecommunications carriers, the radio and TV networks affiliated to the State Administration for Radio, Film and Television (SARFT) are to become a new type of ISP that is capable of choking the free spirit of Internet as recently demonstrated by the far-reaching policy of “networks convergence”. The latent effects of this policy remain ignored by the academia. This article argues that the policy has a great potential to drastically alter the structure and ecology of Internet in China. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Li Hua Representing Minorities and Social Change in Tuya’s Marriage This paper will focus on Chinese director Wang Quan’an’s third feature film, Tuya’s Hunshi/Tuya’s Marriage (Wang Quan’an, 2007). The film not only reveals a rapidly vanishing nomadic life, the glories of the Mongolian grasslands and the determined heroine’s journey to find a husband, but also exposes a range of issues the protagonist faces in a fast-changing society: the displacement of the roles of husband and wife, the tension between a woman’s allegiance to the patriarchal code of conduct and her personal desires, the impact of urbanization upon the traditional nomadic lifestyle and livelihood, and the fissure between the city and the countryside. I would argue that Tuya’s Marriage, on the one hand, remains within the cinematic tradition of the Chinese minority film in that the director Wang Quan’an conveniently uses the genre to explore some themes that would not be readily explored in ordinary Han-centered genres. On the other hand, the film can also be viewed as a rural film. It builds upon the sort of images of rural women found in earlier rural films, such as Li Shuangshuang, Xiang Ersao, Guilan and Ermo, thereby revealing how social change can affect women’s lives. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ 15
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