Pub Date : 2023-05-01DOI: 10.5325/jasiapacipopcult.8.1.0006
Therèsa M. Winge
ABSTRACT:Cosplayers create elaborate costumes with fantastic details and effects imitating the visual and material culture artifacts and features of fictional characters. As such, cosplay costumes balance wearability for the cosplayer and accuracy to the selected character’s appearance. Further challenges to accurate portrayals are costumes that need to be animated or made from materials resembling the visuals originally created using animation or CGI. This article employs Tzvetan Todorov’s theory that suggests the fantastic is a liminal moment of hesitation between belief and dis-belief. The author also draws on the concepts of Steven Shaviro’s “tactile convergence” and Sarah Gilligan’s “tactile transmediality,” where the material real-world qualities of cosplayers’ costumes cross between the fictional imaginative space of the story and the lived material body. This analysis further highlights how cosplayers spend extraordinary amounts of time and money on their costumes to portray fantastic characters with transmedial qualities and narratives regarding the character’s appearance.
{"title":"Making the Fantastic Real: Exploring Transmedial Aspects of Cosplay Costumes","authors":"Therèsa M. Winge","doi":"10.5325/jasiapacipopcult.8.1.0006","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0006","url":null,"abstract":"ABSTRACT:Cosplayers create elaborate costumes with fantastic details and effects imitating the visual and material culture artifacts and features of fictional characters. As such, cosplay costumes balance wearability for the cosplayer and accuracy to the selected character’s appearance. Further challenges to accurate portrayals are costumes that need to be animated or made from materials resembling the visuals originally created using animation or CGI. This article employs Tzvetan Todorov’s theory that suggests the fantastic is a liminal moment of hesitation between belief and dis-belief. The author also draws on the concepts of Steven Shaviro’s “tactile convergence” and Sarah Gilligan’s “tactile transmediality,” where the material real-world qualities of cosplayers’ costumes cross between the fictional imaginative space of the story and the lived material body. This analysis further highlights how cosplayers spend extraordinary amounts of time and money on their costumes to portray fantastic characters with transmedial qualities and narratives regarding the character’s appearance.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"21 - 6"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48683297","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.8.1.0138
P. Mountfort
Frenchy Lunning is deeply implicated in the rise of cosplay research and scholarship. She is the founding editor in chief of Mechademia, a journal which practically introduced the specialized study of Japanese popular culture into culture studies, as the title’s amalgam of the giant-robot genre of mecha with academia suggests. Its 2006 inaugural issue, Emerging Worlds of Anime and Manga, contained a seminal article, Therèsa Winge’s “Costuming the Imagination: Origins of Manga and Anime,” which offered one of the first theoretical accounts of cosplay.1 Cosplayers’ nomination and performance of their chosen character was based not simply on fannish infatuation but on research and study into a source text, leading to an “interpretation that takes place by reading and watching.”2 Valorization of the fan as what we might now call a cultural prosumer (cough) was in the air, with Henry Jenkins famously arguing that same year in Convergence Culture (2006) that fans were critical readers and (re)writers of cultural texts.3 Mechademia is also the banner under which conferences have been staged annually from 2001 in Minneapolis—and now biennially across Asia—just as the journal has concomitantly expanded its remit, in a “Second Arc,” from focusing on Japanese popular culture to that of East Asia more generally since 2018.4 Commentators have noted the resemblances between popular sci-fi, comics, and fan conventions (most of which include cosplay) and academic conferences. This crossover is perhaps nowhere Review
francchy Lunning与cosplay研究和学术的兴起有着深刻的联系。她是《Mechademia》的创刊总编辑。《Mechademia》实际上将日本大众文化的专业研究引入了文化研究领域，就像标题中巨型机器人类型的mecha与学术界的融合一样。2006年的创刊号《动漫的新兴世界》包含了一篇开创性的文章，ther sa Winge的《装扮想象力:动漫的起源》，这篇文章提供了最早的关于cosplay的理论描述之一coser对他们所选角色的提名和表演不仅仅是基于狂热的迷恋，而是基于对原始文本的研究和学习，从而产生“通过阅读和观看进行的解释”。“粉丝作为我们现在所说的文化产消费者的价值化(咳)正在传播，亨利·詹金斯(Henry Jenkins)在同一年的《融合文化》(2006)中提出了著名的观点，即粉丝是批判性的读者和文化文本的(再)作者。Mechademia也是自2001年以来在明尼阿波利斯每年举办一次会议的旗帜，现在在亚洲每两年举办一次，就像该杂志自2018年以来在“第二弧”中扩大了其范围一样，从关注日本流行文化扩展到更广泛的东亚文化。评论人士注意到流行科幻、漫画和粉丝大会(其中大部分包括角色扮演)和学术会议之间的相似之处。这种交叉或许无处可查
{"title":"Cosplay: The Fictional Mode of Existence by Frenchy Lunning (review)","authors":"P. Mountfort","doi":"10.5325/jasiapacipopcult.8.1.0138","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.8.1.0138","url":null,"abstract":"Frenchy Lunning is deeply implicated in the rise of cosplay research and scholarship. She is the founding editor in chief of Mechademia, a journal which practically introduced the specialized study of Japanese popular culture into culture studies, as the title’s amalgam of the giant-robot genre of mecha with academia suggests. Its 2006 inaugural issue, Emerging Worlds of Anime and Manga, contained a seminal article, Therèsa Winge’s “Costuming the Imagination: Origins of Manga and Anime,” which offered one of the first theoretical accounts of cosplay.1 Cosplayers’ nomination and performance of their chosen character was based not simply on fannish infatuation but on research and study into a source text, leading to an “interpretation that takes place by reading and watching.”2 Valorization of the fan as what we might now call a cultural prosumer (cough) was in the air, with Henry Jenkins famously arguing that same year in Convergence Culture (2006) that fans were critical readers and (re)writers of cultural texts.3 Mechademia is also the banner under which conferences have been staged annually from 2001 in Minneapolis—and now biennially across Asia—just as the journal has concomitantly expanded its remit, in a “Second Arc,” from focusing on Japanese popular culture to that of East Asia more generally since 2018.4 Commentators have noted the resemblances between popular sci-fi, comics, and fan conventions (most of which include cosplay) and academic conferences. This crossover is perhaps nowhere Review","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"8 1","pages":"138 - 149"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48202576","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0155
Winnie E. Pérez Martínez
{"title":"Invisibility by Design: Women and Labor in Japan’s Digital Economy","authors":"Winnie E. Pérez Martínez","doi":"10.5325/jasiapacipopcult.7.1.0155","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0155","url":null,"abstract":"","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46394233","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0140
Aleks Wansbrough
{"title":"Interview with Nina Power","authors":"Aleks Wansbrough","doi":"10.5325/jasiapacipopcult.7.1.0140","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0140","url":null,"abstract":"","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"140 - 154"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43293957","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0072
Kate Bowen
ABSTRACT:Edgar Wright's Baby Driver (2017) has been heralded by critics as a unique generic blend of action and musical. With critical acclaim mostly reserved for the film's cross-generic appeal, little scholarly attention has been paid to how genre in Baby Driver works to represent and explore gender relations. The film's combination of these generic elements (as an "action musical"), I believe, opens up possibilities for a questioning of how the film represents the masculinity of its action-hero as a performance. Applying Judith Butler's theory of gender as a performance, I argue that Baby Driver represents millennial masculinity as a kind of "play" in order to interrogate traditional action-cinema tropes of hegemonic masculinity.
{"title":"\"Was he slow?\": The Performance of Masculinity in Edgar Wright's Action Musical Baby Driver","authors":"Kate Bowen","doi":"10.5325/jasiapacipopcult.7.1.0072","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0072","url":null,"abstract":"ABSTRACT:Edgar Wright's Baby Driver (2017) has been heralded by critics as a unique generic blend of action and musical. With critical acclaim mostly reserved for the film's cross-generic appeal, little scholarly attention has been paid to how genre in Baby Driver works to represent and explore gender relations. The film's combination of these generic elements (as an \"action musical\"), I believe, opens up possibilities for a questioning of how the film represents the masculinity of its action-hero as a performance. Applying Judith Butler's theory of gender as a performance, I argue that Baby Driver represents millennial masculinity as a kind of \"play\" in order to interrogate traditional action-cinema tropes of hegemonic masculinity.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"72 - 84"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42522021","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0001
Aleks Wansbrough
{"title":"Letter from the Editor","authors":"Aleks Wansbrough","doi":"10.5325/jasiapacipopcult.7.1.0001","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0001","url":null,"abstract":"","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"1 - 12"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42679475","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0109
Anna Broinowski
ABSTRACT:Since appearing in 2017, deepfakes have inspired a predominantly negative public response. Substantial research has been devoted to the danger that deepfake technology—as a deceptive audiovisual device—poses to democratic and evidentiary systems; and to the development of AI and legislative mechanisms to control it. However, the diverse and multiplying ways in which deepfake practitioners, researchers, and consumers are now viewing, framing, and using deepfake technology—and its positive applications in commerce, science, education, and the arts—deserve closer attention. This article assesses the plausibility of dystopian and utopian narratives around deepfakes to offer a more nuanced understanding of deepfake technology as a novel synthetic media tool: one which, like any screen-based illusion, can be harnessed for malign and benign purposes, and whose cultural and political power rests—for now at least—not with the machines that create it, but the human beings who use it.
{"title":"Deepfake Nightmares, Synthetic Dreams: A Review of Dystopian and Utopian Discourses Around Deepfakes, and Why the Collapse of Reality May Not Be Imminent—Yet","authors":"Anna Broinowski","doi":"10.5325/jasiapacipopcult.7.1.0109","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0109","url":null,"abstract":"ABSTRACT:Since appearing in 2017, deepfakes have inspired a predominantly negative public response. Substantial research has been devoted to the danger that deepfake technology—as a deceptive audiovisual device—poses to democratic and evidentiary systems; and to the development of AI and legislative mechanisms to control it. However, the diverse and multiplying ways in which deepfake practitioners, researchers, and consumers are now viewing, framing, and using deepfake technology—and its positive applications in commerce, science, education, and the arts—deserve closer attention. This article assesses the plausibility of dystopian and utopian narratives around deepfakes to offer a more nuanced understanding of deepfake technology as a novel synthetic media tool: one which, like any screen-based illusion, can be harnessed for malign and benign purposes, and whose cultural and political power rests—for now at least—not with the machines that create it, but the human beings who use it.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"109 - 139"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47719495","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0085
Vashanth Selvadurai, Peter Vistisen, D. Binns
ABSTRACT:To date, the scholarship on transmedia storytelling has focused on analyzing existing properties or on establishing holistic approaches to the craft itself. Missing from the scholarship are deep considerations of the individual mechanics at work during the telling of a story across multiple media platforms. We examine state-of-the-art transmedia properties to identify how audience motivations are engineered to ensure that the audience transitions from one media platform to another. Complicated story transitions, or "bridges," are an effect of the increased complexity of transmedia franchises, challenging the traditional monocentric "tentpole approach" with a broader polycentric approach. With a polycentric model, the complexity is managed not through tie-ins to one tentpole but as a mix of what are labeled here as storylines, storyworlds, and character bridges with varying levels of complexities in their relation to the traditional tentpole medium.
{"title":"Bridge Complexity as a Factor in Audience Interaction in Transmedia Storytelling","authors":"Vashanth Selvadurai, Peter Vistisen, D. Binns","doi":"10.5325/jasiapacipopcult.7.1.0085","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0085","url":null,"abstract":"ABSTRACT:To date, the scholarship on transmedia storytelling has focused on analyzing existing properties or on establishing holistic approaches to the craft itself. Missing from the scholarship are deep considerations of the individual mechanics at work during the telling of a story across multiple media platforms. We examine state-of-the-art transmedia properties to identify how audience motivations are engineered to ensure that the audience transitions from one media platform to another. Complicated story transitions, or \"bridges,\" are an effect of the increased complexity of transmedia franchises, challenging the traditional monocentric \"tentpole approach\" with a broader polycentric approach. With a polycentric model, the complexity is managed not through tie-ins to one tentpole but as a mix of what are labeled here as storylines, storyworlds, and character bridges with varying levels of complexities in their relation to the traditional tentpole medium.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"108 - 85"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46302211","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 : 2022-05-01DOI: 10.5325/jasiapacipopcult.7.1.0051
M. Thurner
ABSTRACT:Much high art of the twenty-first century is influenced by popular culture and, conversely, high art often finds its way into representation in popular culture media to varying levels and degrees. An example of this is the anime The Girl Who Leapt through Time, which uses a fictional artwork to significantly drive a narrative arc within the plot situating the important action within the museum environment. The artwork is both a signifier of the film's central themes of loss, memory, and a representation of humanities creative impulse. The painting is explored via art formalist means and as metaphor to outline a speculative museology of the high art object inside and outside of the bounds of the particularity of the physical museum. This analysis and discursive treatise probes the importance of the interplay of "high" art and popular culture in a contemporary paradigm and the broader concern of art as bound to the human experience.
{"title":"The Painting that Leapt Through Time: Popularized High Art on Screen","authors":"M. Thurner","doi":"10.5325/jasiapacipopcult.7.1.0051","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.7.1.0051","url":null,"abstract":"ABSTRACT:Much high art of the twenty-first century is influenced by popular culture and, conversely, high art often finds its way into representation in popular culture media to varying levels and degrees. An example of this is the anime The Girl Who Leapt through Time, which uses a fictional artwork to significantly drive a narrative arc within the plot situating the important action within the museum environment. The artwork is both a signifier of the film's central themes of loss, memory, and a representation of humanities creative impulse. The painting is explored via art formalist means and as metaphor to outline a speculative museology of the high art object inside and outside of the bounds of the particularity of the physical museum. This analysis and discursive treatise probes the importance of the interplay of \"high\" art and popular culture in a contemporary paradigm and the broader concern of art as bound to the human experience.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"7 1","pages":"51 - 71"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45922207","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 : 2021-11-01DOI: 10.5325/jasiapacipopcult.6.2.0334
S. Gandesha
doi: 10.5325/jasiapacipopcult.6.2.0334 In this interview, which took place by email in the summer of 2021, Samir Gandesha engages in a discussion with Martin Jay, UC Berkeley, one of the preeminent US intellectual historians since the 1980s and author of the ground-breaking Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923–1950 (1973), which was followed by other important books on totality, ocularcentrism, experience, and lying in politics. The result is in a wide-ranging philosophical (aesthetic and political) discussion of a variety of topics, including the Frankfurt School and the trajectory of critical theory, the rise and importance of social media platforms, ensuing the digitalization and commodification of the life-world, “algorithmic populism” and “cancel culture,” as well as the role of art between theory and criticism.
{"title":"Interview with Martin Jay","authors":"S. Gandesha","doi":"10.5325/jasiapacipopcult.6.2.0334","DOIUrl":"https://doi.org/10.5325/jasiapacipopcult.6.2.0334","url":null,"abstract":"doi: 10.5325/jasiapacipopcult.6.2.0334 In this interview, which took place by email in the summer of 2021, Samir Gandesha engages in a discussion with Martin Jay, UC Berkeley, one of the preeminent US intellectual historians since the 1980s and author of the ground-breaking Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923–1950 (1973), which was followed by other important books on totality, ocularcentrism, experience, and lying in politics. The result is in a wide-ranging philosophical (aesthetic and political) discussion of a variety of topics, including the Frankfurt School and the trajectory of critical theory, the rise and importance of social media platforms, ensuing the digitalization and commodification of the life-world, “algorithmic populism” and “cancel culture,” as well as the role of art between theory and criticism.","PeriodicalId":40211,"journal":{"name":"Journal of Asia-Pacific Pop Culture","volume":"6 1","pages":"334 - 352"},"PeriodicalIF":0.2,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42414976","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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