The Men and Women of<i>non-no</i>: Gender, Race, and Hybridity in Two Japanese Magazines

Darling‐Wolf, Fabienne

doi:10.1080/07393180600800734

Cited by 10 publications

(12 citation statements)

References 17 publications

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“…Offered as alternatives to globally dominant ideals of "Western/White" femininity and to "pre-modern" "local" gender dynamics, the constructions of ideal Indian beauty Parameswaran describes deploy hybridity as "a mutually interactive combination of global and national cultural images, values, and symbols " (2005, p. 424). As we will see in chapter 3, scholars have observed a similar process in Japan where hybridized representations of ideal Japanese beauty are offered as acts of resistance against "Western" global hegemony while simultaneously feeding a self-Orientalizing discourse (Creighton, 1995;Darling-Wolf, 2006;Yegenoglu, 1998). These examples illustrate the need to continue to explore the intersection of gender, race, class, and nation with the construction of hybridized cultural forms under conditions of globalization.…”

Section: Gendered Hybridities and The Politics Of Representationmentioning

confidence: 97%

“…The hybrid deterritorialized consumer culture they promote draws from a wide array of cultural influences. In a comparative study of non-no and Men's non-no (its counterpart targeted at men launched in 1986) I found that Men's non-no's representations of masculinity drew from a seemingly limitless variety of (mostly "Western") cultural contexts (Darling-Wolf, 2006). Cowboys appeared in numerous fashion spreads and in ads (of both Japanese and U.S./European origin) for whiskey, jeans, cigarettes, and beauty products.…”

Section: White Models and Hybridity In Japanese Fashion Magazinesmentioning

confidence: 99%

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Imagining the Global Transnational Media and Popular Culture Beyond East and West

2014

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This book explores these questions through an examination of the transnational forces at work in the relationship between three sites (listed in alphabetical order throughout the book): France, Japan, and the United States. These sites were chosen in response to global media scholars Marwan Kraidy and Patrick Murphy's call for a "multisited, translocal approach" to global communication studies "working comparatively between and within various locals" (2008, pp. 346, 351, emphasis in orginal; see also Shohat, 2002, p. 78). A number of other scholars have pointed to the need to move beyond the recognition that "globalization means radically different things to different people in different places" (Sorge, 2005, p. 8) to explore what we can learn from these differences. A translocal approach focuses on the concrete conditions under which various local/national environments relate to each other in a globalized world.While working comparatively, a translocal perspective moves beyond a traditional comparative approach by putting the emphasis on the multifaceted relations, connections, and dynamics between the sites rather than on each site individually. It focuses, as media scholar Terhi Rantanen puts it, "on places rather than place" (2005, p. 12, emphasis in original). It draws from the works of scholars, particularly within the British Cultural Studies tradition, who have proposed to trace the trajectories of modern cultural practice through a

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Section: Gendered Hybridities and The Politics Of Representationmentioning

confidence: 97%

Section: White Models and Hybridity In Japanese Fashion Magazinesmentioning

confidence: 99%

Imagining the Global Transnational Media and Popular Culture Beyond East and West

2014

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“…In contemporary popular culture, McCleod () notes that visual kei, a gender‐bending visual style of Japanese rock, is also a hybrid of Japanese and Western styles. Likewise, Darling‐Wolf () found that Japanese men's and women's magazines are hybrid in representation, featuring Japanese models that perform a global cosmopolitanism.…”

Section: Spectacle Excess and White “Kawaii”mentioning

confidence: 99%

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

2016

Communication, Culture & Critique

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Singers Katy Perry and Avril Lavigne are among the most recent White women performers to appropriate Japanese femininity. In Perry's November 2013 performance of “Unconditionally,” she used Orientalist imagery of premodern Japan, and in Lavigne's 2014 single “Hello Kitty,” she used techno‐Orientalist imagery of Harajuku street fashion, kawaii, and Japanese‐as‐cyborg. I argue that like White women performers, who performed Japanese femininity in the turn of the 20th century, Perry and Lavigne caricatured Japanese femininity as a hybrid costume to advance their own subjectivities. Yet, I also show through deconstructive criticism that their spectacular use of juxtaposition and excess creates “obtuse meanings” in which subversive meanings escape and opportunistically challenge the dominant meaning of the texts.

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“…For instance, Kraidy's (2002) observations of how hybridity is represented in a series of Washington Post articles on ''American Popular Culture Abroad'' reveal a complex discourse in which global audiences are simultaneously granted agency to create hybridity while being denied agency to choose Western popular culture, as its spread and power are inevitable. In many studies of global media and popular culture, the overriding observation has been the link between hybridity and power and hybridity and hegemony (e.g., Barnard, 2006;Darling-Wolf, 2006;Kraidy, 2005;Osborne, 2006;Papastergiadis, 2005;Parameswaran, 2002). According to Kraidy (2005), ''hybridity .…”

Section: Hybriditymentioning

confidence: 99%

Commodifying Africa on U.S. Network Reality Television

Steeves

2008

Communication, Culture &Amp; Critique

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Drawing on postcolonial studies, hegemony theory, Marxian commodification, and previous critiques of Africa’s portrayal in colonial narratives, Western news, and tourism advertising, this qualitative study examines Africa’s representation through January 2008 on three U.S. network reality television programs: the CBS hits Survivor and The Amazing Race and the FOX talent contest American Idol in its “Idol Gives Back” fundraiser. Specifically, I ask whether representations reveal Africa’s continued colonization via commodification in three ways: by erasing or including African specificity, by relying on static voiceless images or allowing Africans agency, and by placing American visitors in varied hybrid encounter roles revealing their complicity with or resistance to colonial and neocolonial Western dominance. As cultural mixture is a central feature commodified in these programs, the postcolonial concept hybridity is a particularly useful analytic tool. The notion of “hybrid encounter” is proposed to more accurately describe the contact represented in the texts. I argue that Africa’s representation on reality television reveals old narrative patterns as well as new ways of commodifying the continent. The programs also reinforce Western political economic dominance at a time of greatly increased tourism to developing countries alongside global product advertising aligned with the trendy lifestyle values of adventure travel.

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The Men and Women ofnon-no: Gender, Race, and Hybridity in Two Japanese Magazines

Cited by 10 publications

References 17 publications

Imagining the Global Transnational Media and Popular Culture Beyond East and West

Imagining the Global Transnational Media and Popular Culture Beyond East and West

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

Commodifying Africa on U.S. Network Reality Television

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