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Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research. While acknowledging that shōjo has mediated multiple discourses throughout the twentieth century—discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology—this volume shifts the focus to shōjo mediations, stretching from media by and for actual girls, to shōjo as media. As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape.
Girls in mass media. --- Mass media --- Ethnology-Asia. --- Communication. --- Sociology. --- Motion pictures-Asia. --- Asia-Politics and government. --- Asian Culture. --- Media and Communication. --- Gender Studies. --- Asian Cinema and TV. --- Asian Politics. --- Social theory --- Social sciences --- Communication, Primitive --- Mass communication --- Sociology --- Ethnology—Asia. --- Motion pictures—Asia. --- Asia—Politics and government.
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Since the 2000s, the Japanese word shōjo has gained global currency, accompanying the transcultural spread of other popular Japanese media such as manga and anime. The term refers to both a character type specifically, as well as commercial genres marketed to female audiences more generally. Through its diverse chapters this edited collection introduces the two main currents of shōjo research: on the one hand, historical investigations of Japan’s modern girl culture and its representations, informed by Japanese-studies and gender-studies concerns; on the other hand, explorations of the transcultural performativity of shōjo as a crafted concept and affect-prone code, shaped by media studies, genre theory, and fan-culture research. While acknowledging that shōjo has mediated multiple discourses throughout the twentieth century—discourses on Japan and its modernity, consumption and consumerism, non-hegemonic gender, and also technology—this volume shifts the focus to shōjo mediations, stretching from media by and for actual girls, to shōjo as media. As a result, the Japan-derived concept, while still situated, begins to offer possibilities for broader conceptualizations of girlness within the contemporary global digital mediascape.
Sociology of the family. Sociology of sexuality --- Sociology --- International relations. Foreign policy --- Ethnology. Cultural anthropology --- Mass communications --- Film --- History of civilization --- internationale politiek --- niet-westerse cultuur --- etnologie --- manga --- sociologie --- TV (televisie) --- communicatie --- film --- gender --- Japan --- Asia
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Sociology of the family. Sociology of sexuality --- Sociology --- International relations. Foreign policy --- Ethnology. Cultural anthropology --- Mass communications --- Film --- History of civilization --- internationale politiek --- niet-westerse cultuur --- etnologie --- manga --- sociologie --- TV (televisie) --- communicatie --- film --- gender --- Japan --- Asia
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Akira the Hustler ; Hino, Korehiko ; Imamura, Hanako ; Kawashima, Hideaki ; Nishio, Yasuyuki ; Okazaki, Kyoko ; Saito, Yuichi ; Sasaki (Heartbeat Drawing) ; Sasaki, Takuya ; Syuji, Takashi ; Tanada, Koji ; Yamagiwa, Masami ; Yoshinaga, Masayuki
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