Pub Date : 2023-11-01DOI: 10.5325/jasiapacipopcult.8.2.0254
Chang Xu
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Pub Date : 2023-11-01DOI: 10.5325/jasiapacipopcult.8.2.0155
Rachel Franks
Selecting a biographical subject is never straightforward. Inviting someone to live in your mind and soul for a few years is a complicated decision; even if you know your topic well, those early days of courtship can be difficult. Biographies, of course, allow for interesting segues into a variety of topics within the field of popular culture, including the competitive arena of true-crime storytelling. In this way, they are a potent lure for writers and readers who enjoy the ways genre-crossover books can present multiple stories within a single volume. This article explores a few of the approaches possible when writing historical biography and how these intersect with the complexities of presenting an executioner as a compelling, if controversial, figure. This is done through unpacking the process of writing the first full-length biography of Robert Howard, better known as “Nosey Bob,” the longest-serving hangman for New South Wales.
{"title":"Myths, Media, and Judicial Execution: Writing the Biography of Hangman Robert Howard","authors":"Rachel Franks","doi":"10.5325/jasiapacipopcult.8.2.0155","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.2.0155","url":null,"abstract":"Selecting a biographical subject is never straightforward. Inviting someone to live in your mind and soul for a few years is a complicated decision; even if you know your topic well, those early days of courtship can be difficult. Biographies, of course, allow for interesting segues into a variety of topics within the field of popular culture, including the competitive arena of true-crime storytelling. In this way, they are a potent lure for writers and readers who enjoy the ways genre-crossover books can present multiple stories within a single volume. This article explores a few of the approaches possible when writing historical biography and how these intersect with the complexities of presenting an executioner as a compelling, if controversial, figure. This is done through unpacking the process of writing the first full-length biography of Robert Howard, better known as “Nosey Bob,” the longest-serving hangman for New South Wales.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"90 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139306252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/jasiapacipopcult.8.2.0231
Alistair Rolls, Emma Hamilton
In the companion piece to this article, the authors discuss John Carpenter’s Assault on Precinct 13 (1976) from the perspective of what they have dubbed “representational equilibrium,” in which two opposed notions—change over time and absence of transformation—can be shown to pertain at the same time in the same film. This article maps the and-or dynamics of equilibrium onto textual space as something simultaneously autonomous (closed in upon itself) and shared or penetrated (open to otherness). This “intertextual equilibrium” allows a more complex reading of the filmic intertext as it pertains to Assault and its hypotexts. Intertextual exchange will be analyzed as points of intersection (of host and source texts) and sites of double movement or double-crossing. For example, while Once Upon a Time in the West will be seen to hold the key to Napoleon Wilson’s racial identity in Assault, Assault will simultaneously raise questions about Harmonica’s identity in Once Upon a Time in the West. Literal crossings will stand as metaphors for racial passing and metonyms for Assault’s construction: Carpenter’s film is, like its (quasi-titular) precinct, under siege, assaulted by the very intertexts on which it is built.
{"title":"Vanilla Twist Again: Passing, Loitering, and Intertextual Equilibrium in John Carpenter’s Assault on Precinct 13","authors":"Alistair Rolls, Emma Hamilton","doi":"10.5325/jasiapacipopcult.8.2.0231","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.2.0231","url":null,"abstract":"In the companion piece to this article, the authors discuss John Carpenter’s Assault on Precinct 13 (1976) from the perspective of what they have dubbed “representational equilibrium,” in which two opposed notions—change over time and absence of transformation—can be shown to pertain at the same time in the same film. This article maps the and-or dynamics of equilibrium onto textual space as something simultaneously autonomous (closed in upon itself) and shared or penetrated (open to otherness). This “intertextual equilibrium” allows a more complex reading of the filmic intertext as it pertains to Assault and its hypotexts. Intertextual exchange will be analyzed as points of intersection (of host and source texts) and sites of double movement or double-crossing. For example, while Once Upon a Time in the West will be seen to hold the key to Napoleon Wilson’s racial identity in Assault, Assault will simultaneously raise questions about Harmonica’s identity in Once Upon a Time in the West. Literal crossings will stand as metaphors for racial passing and metonyms for Assault’s construction: Carpenter’s film is, like its (quasi-titular) precinct, under siege, assaulted by the very intertexts on which it is built.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"21 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139302671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-01DOI: 10.5325/jasiapacipopcult.8.2.0211
Emma Hamilton, Alistair Rolls
This article explores the nature of political representation in John Carpenter’s 1976 film Assault on Precinct 13. Previous scholars have taken divergent views of the representation, particularly racial representation, in this film, suggesting it is variously apolitical, conservative, or liberal. This article uses the lens of a “representational equilibrium” to explore the ways in which meaning is constructed in this film and, moreover, the ways in which seemingly contradictory interpretations and meanings can be held at once. A representational equilibrium helps us to understand how representations are distinctly historical and how it is possible, when viewing representation through the lens of its historical context, to understand how a film’s message can be both repressive and liberal, or, in other words, how we can see within the film’s representations evidence of enormous historical change, but no corresponding transformation in the relationships of power that the film conveys. Such a perspective accounts for complex, contradictory, and ambiguous representations and audience identifications, which seek to categorize a film not as either one thing or another but, rather, as capable of being many things at once.
本文探讨了约翰-卡朋特（John Carpenter）1976 年执导的电影《13 号狙击手》（Assault on Precinct 13）中政治表征的性质。以往的学者对该片中的政治表征，尤其是种族表征持有不同的观点，认为该片具有非政治性、保守性或自由性等不同特点。本文以 "表象平衡 "为视角，探讨这部影片的意义建构方式，以及看似矛盾的解释和意义的同时存在方式。表象平衡 "有助于我们理解表象如何具有鲜明的历史性，以及在通过历史背景审视表象时，如何能够理解一部影片所传达的信息如何既是压抑的又是自由的，或者换句话说，我们如何能够在影片的表象中看到巨大历史变革的证据，但影片所传达的权力关系却没有相应的转变。这种视角解释了复杂、矛盾和模棱两可的表述和观众认同，它试图将一部电影归类为非此即彼的事物，而是能够同时成为多种事物。
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Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0052
Emerald L. King
ABSTRACT:On the twenty-fifth anniversary of the release of Pokémon Red and Pokémon Green in 2021, Pokémon Legends: Arceus was announced. A new take on the highly successful franchise, Arceus sees the player transported to a mysterious past set in the frontiers of the Hisui region. As in other games, players have Poké Ball to capture wild Pokémon, but in this game the creatures can inflict damage if they become frightened or aggressive. The technology and costuming are vaguely steam powered, hinting at a Victorian or Meiji (1868–1912) time period. Indeed, it is revealed that the setting for the game is Hokkaido around 1869, during the colonization of the northern island. In early 2022, Twitter was abuzz with news that the series would be headlined by Ainu characters. This article takes a practical look at the design of the costumes, reading them as historically plausible versions of the more standard 1990s/2000s Pokémon hero. It will offer a case study that looks at one of the many possible approaches to designing and creating a cosplay costume. It will also take into consideration other Pokémon trainer costumes, such as those featured in Pokémon GO (2016), and tie-in commercial patterns.
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Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0001
P. Mountfort
Like many of its youthful participants, cosplay scholarship is effectively in its teens, with academic approaches only really dating back to the mid-2000s. Prior to this, most publications on the subject both offand online were fannish contributions or generalized texts. Examples include Michael Bruno’s pieces for Glitz and Glitter newsletter in 2002, Takako Aoyama and Jennifer Cahill’s Cosplay Girls: Japan’s Live Animation Heroines (2003), and Robert Holzek’s “Cosplay: The New Main Attraction” (2004).1 Though still mined as useful sources by researchers to this day, they lack methodological and theoretical foundations. Then the first academic articles began appearing, including Therèsa Winge’s formative “Costuming the Imagination: Origins of Manga and Anime” in the first volume of Frenchy Lunning’s flagship journal of Japanese popular culture studies, Mechademia (2006).2 Articles rapidly followed on cosplay’s relationship to gaming and conventions, the motif of the doll, and site-specific studies in the United States as well as Taiwan, with the first published photographic monograph, Elena Dorfman’s Fandomania, appearing in 2007. Since then the initial trickle has turned into a slew, with myriad aspects of cosplay practice being essayed in article, chapter, reference, and monograph form. Despite having come of age in recent years with the publication of a series of academic monographs—Winge’s Costuming Cosplay: Dressing the Imagination (2018); Paul Mountfort, Anne Peirson-Smith, and Adam Geczy’s Planet Cosplay: Costume Play, Identity and Global Fandom (2018), and Lunning’s Cosplay: The Fictional Mode of Existence (2022)3—this current issue of the Journal of Asia-Pacific Pop Culture is, to my knowledge, the first journalized special issue dedicated to cosplay. Given these
和许多年轻参与者一样，角色扮演奖学金实际上是在十几岁的时候，学术方法真正可以追溯到2000年代中期。在此之前，无论是在网上还是在网上，大多数关于这一主题的出版物都是粉丝式的贡献或一般化的文本。例子包括迈克尔·布鲁诺在2002年为《Glitz and Glitter》时事通讯撰写的文章，青山隆子和珍妮弗·卡希尔的《角色扮演女孩：日本现场动画英雄》（2003年），以及罗伯特·霍尔泽克的《角色演制：新的主要吸引力》（2004年）。随后，第一批学术文章开始出现，包括Therèsa Winge在Frenchy Lunning的日本流行文化研究旗舰期刊《机械人》（Mechandemia）（2006年）的第一卷中形成的“Costuming the Imagination:Manga and Anime的起源”，以及美国和台湾的特定地点研究，第一本出版的摄影专著Elena Dorfman的Fandomania于2007年出版。从那时起，最初的涓涓细流变成了一系列，角色扮演实践的各个方面都以文章、章节、参考文献和专著的形式进行了尝试。尽管近年来随着一系列学术专著的出版而成熟——温格的《Costuming cosplay:Dressing the Imagination》（2018）；Paul Mountfort、Anne Peison Smith和Adam Geczy的《星球角色扮演：服装扮演、身份和全球粉丝》（2018），以及Lunning的《角色扮演：虚构的存在模式》（2022）3——据我所知，本期《亚太流行文化杂志》是第一期专门讨论角色扮演的期刊特刊。鉴于这些
{"title":"Letter from the Editor","authors":"P. Mountfort","doi":"10.5325/jasiapacipopcult.8.1.0001","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0001","url":null,"abstract":"Like many of its youthful participants, cosplay scholarship is effectively in its teens, with academic approaches only really dating back to the mid-2000s. Prior to this, most publications on the subject both offand online were fannish contributions or generalized texts. Examples include Michael Bruno’s pieces for Glitz and Glitter newsletter in 2002, Takako Aoyama and Jennifer Cahill’s Cosplay Girls: Japan’s Live Animation Heroines (2003), and Robert Holzek’s “Cosplay: The New Main Attraction” (2004).1 Though still mined as useful sources by researchers to this day, they lack methodological and theoretical foundations. Then the first academic articles began appearing, including Therèsa Winge’s formative “Costuming the Imagination: Origins of Manga and Anime” in the first volume of Frenchy Lunning’s flagship journal of Japanese popular culture studies, Mechademia (2006).2 Articles rapidly followed on cosplay’s relationship to gaming and conventions, the motif of the doll, and site-specific studies in the United States as well as Taiwan, with the first published photographic monograph, Elena Dorfman’s Fandomania, appearing in 2007. Since then the initial trickle has turned into a slew, with myriad aspects of cosplay practice being essayed in article, chapter, reference, and monograph form. Despite having come of age in recent years with the publication of a series of academic monographs—Winge’s Costuming Cosplay: Dressing the Imagination (2018); Paul Mountfort, Anne Peirson-Smith, and Adam Geczy’s Planet Cosplay: Costume Play, Identity and Global Fandom (2018), and Lunning’s Cosplay: The Fictional Mode of Existence (2022)3—this current issue of the Journal of Asia-Pacific Pop Culture is, to my knowledge, the first journalized special issue dedicated to cosplay. Given these","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"1 - 5"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41750594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0071
Tets Kimura
ABSTRACT:In Japan school uniforms have been used for role-playing by those other than cosplayers. In order to understand this social discourse, this article examines the chronological development of Japanese school uniforms and then discusses how and why imitation school uniforms have been adopted and adapted by students at uniform-free schools as well as by female J-pop performers. The article argues that school uniforms are sentimentally valuable in Japan as they represent narratives of youth before entering a tough and restricted adult life. School uniforms symbolize freedom and a future full of possibilities, growth, and hope. In this regard, the uniform-like costumes are attractive to both the youth who wear them, such as the students and popstars, and to the grown-ups, such as fans of pop stars, as the costumes remind them that life was once good in the “good old days.”
{"title":"Roles of Imitation Seifuku School Uniforms in Japan: A Case Study of Students at Uniform-Free Schools and the Iconic J-pop Performers of AKB48","authors":"Tets Kimura","doi":"10.5325/jasiapacipopcult.8.1.0071","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0071","url":null,"abstract":"ABSTRACT:In Japan school uniforms have been used for role-playing by those other than cosplayers. In order to understand this social discourse, this article examines the chronological development of Japanese school uniforms and then discusses how and why imitation school uniforms have been adopted and adapted by students at uniform-free schools as well as by female J-pop performers. The article argues that school uniforms are sentimentally valuable in Japan as they represent narratives of youth before entering a tough and restricted adult life. School uniforms symbolize freedom and a future full of possibilities, growth, and hope. In this regard, the uniform-like costumes are attractive to both the youth who wear them, such as the students and popstars, and to the grown-ups, such as fans of pop stars, as the costumes remind them that life was once good in the “good old days.”","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"71 - 87"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44873204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0115
Ellen Kirkpatrick
Long ago in a distant future, I described myself as a pop culture scholar with a passion for cosplay. Nowadays I might describe myself as an independent pop culture scholar with a passion for cosplay. But I don’t. I imagine myself as an informed writer passionate about pop culture, cosplay, and the transformative power of stories and storytelling. I say “imagine” because I am still making that writerly dream happen, still making that no-fuss descriptor—writer—mean something, mean me. As I once tried to make other words like academic and scholar mean me, too. Later compounding the issue by trying on other kinds of nouns, other semantic costumes in my search for a designation, a destination, like some latter-day Mr. Benn.3 This kind of meaning-making exercise is something of a rite of passage for scholars exiting the academe, a naming act of self-creation. Each possibility allowing us to make ourselves mean differently, signaling shifting orientations toward the world. And it usually starts with a question, or two.
{"title":"Cosplay, Academia, and Me—Some Thoughts, and a Note on the Future","authors":"Ellen Kirkpatrick","doi":"10.5325/jasiapacipopcult.8.1.0115","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0115","url":null,"abstract":"Long ago in a distant future, I described myself as a pop culture scholar with a passion for cosplay. Nowadays I might describe myself as an independent pop culture scholar with a passion for cosplay. But I don’t. I imagine myself as an informed writer passionate about pop culture, cosplay, and the transformative power of stories and storytelling. I say “imagine” because I am still making that writerly dream happen, still making that no-fuss descriptor—writer—mean something, mean me. As I once tried to make other words like academic and scholar mean me, too. Later compounding the issue by trying on other kinds of nouns, other semantic costumes in my search for a designation, a destination, like some latter-day Mr. Benn.3 This kind of meaning-making exercise is something of a rite of passage for scholars exiting the academe, a naming act of self-creation. Each possibility allowing us to make ourselves mean differently, signaling shifting orientations toward the world. And it usually starts with a question, or two.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"115 - 126"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43196892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0022
P. Mountfort
ABSTRACT:Cosplay is commonly understood to involve cosplayers donning the accoutrements of popular media entities in a complexly mediated type of “performance.” This article asks to what extent Gilles Deleuze and Félix Guattari’s “becoming-animal” from the tenth plateau of A Thousand Plateaus: Capitalism and Schizophrenia (1980) can mobilize other understandings of these moments—in particular, their becoming that transcends mimesis, resemblance, or representation. Such “sorcery” is a “molecular” becoming based on alliance with a “demonic” character, one’s passing “by contagion” into becoming with an animal pack, a second alliance with a new human group, effecting a further and dynamic contagion of the human and animal. Maintaining such becoming requires a micropolitical struggle that differs from the identarian one in its capacity for offering schizoanalytic realizations of desire. Does, or can, cosplay effectuate such becoming, in which the human becomes “animal” and the animal becomes human, producing irreducible dynamisms, lines of flight?
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Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0088
C. Ritchie
ABSTRACT:Since Prince’s passing in 2016, fans from across the world have traveled to Minneapolis, Minnesota, to celebrate the musician’s legacy and visit Paisley Park, his studio and creative home. So, what do you wear to visit Prince’s house? The implied relationship and connections between Prince, clothing, fans, and place will be examined within this article, utilizing a multimodal approach integrating autoethnography, semi-structured interviews, and online questionnaires. Using fan recollections of visits to Paisley Park, the article focuses on the motivations behind clothing choices worn during visits and how these connect to fans’ admiration of the musician. Critical reflection of the author’s outfit preparations for attendance at Celebration, a three-day event hosted at Paisley Park, will introduce reoccurring themes of respect, self-expression, comfort, and connection. The author argues that all can gain a greater understanding of fannish behaviors and emotive connections to the musician by studying the clothing choices of the Prince fandom.
{"title":"“I like the way I’m dressed and besides that’s what Prince likes”: Dressing for Paisley Park, Fandom, and Clothing","authors":"C. Ritchie","doi":"10.5325/jasiapacipopcult.8.1.0088","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0088","url":null,"abstract":"ABSTRACT:Since Prince’s passing in 2016, fans from across the world have traveled to Minneapolis, Minnesota, to celebrate the musician’s legacy and visit Paisley Park, his studio and creative home. So, what do you wear to visit Prince’s house? The implied relationship and connections between Prince, clothing, fans, and place will be examined within this article, utilizing a multimodal approach integrating autoethnography, semi-structured interviews, and online questionnaires. Using fan recollections of visits to Paisley Park, the article focuses on the motivations behind clothing choices worn during visits and how these connect to fans’ admiration of the musician. Critical reflection of the author’s outfit preparations for attendance at Celebration, a three-day event hosted at Paisley Park, will introduce reoccurring themes of respect, self-expression, comfort, and connection. The author argues that all can gain a greater understanding of fannish behaviors and emotive connections to the musician by studying the clothing choices of the Prince fandom.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"114 - 88"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45820670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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