Japan S Cultural Policy Toward China 1918 1931

Most existing scholarship on Japan’s cultural policy toward modern China reflects the paradigm of cultural imperialism. In contrast, this study demonstrates that Japan—while motivated by pragmatic interests, international cultural rivalries, ethnocentrism, moralism, and idealism—was mindful of Chinese opinion and sought the cooperation of the Chinese government. Japanese policy stressed cultural communication and inclusiveness rather than cultural domination and exclusiveness and was part of Japan’s search for an East Asian cultural order led by Japan. China, however, was not a passive recipient and actively sought to redirect this policy to serve its national interests and aspirations. The author argues that it is time to move away from the framework of cultural imperialism toward one that recognizes the importance of cultural autonomy, internationalism, and transculturation.

This book provides an overall picture of East Asian international politics during the early interwar period and examines the various foreign policy trends of the major powers involved, including Japan, China, Britain, the United States, and the Soviet Union. Based on extensive original research, it posits that East Asia experienced four waves of international change during the interwar period: the transition to the post-World War I international order; the appearance of Nationalist China and the Soviet Union as actors in East Asian international politics; the Japanese invasion of Manchuria; and Japanese implementation of the North China Buffer State Strategy. It considers the new challenges brought about by each of these waves, how the powers – particularly Japan, Britain, and the United States – were able to meet these challenges by working together, and how this became more difficult as time went on. It argues that the Washington System – the international order established at the 1921–1922 Washington Naval Conference – was not a break with the past, as is frequently argued, on account of new forms of foreign policy, including the ideological approaches of the United States and the Soviet Union, but that rather spheres of influence diplomacy continued as before. In addition, in discussing Japanese foreign policy, the book provides a comprehensive picture of the diversity of views towards China among Japanese actors and the ways these shifted over time. The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons CC-BY-NC-ND 4.0 license.

Recent years have witnessed the remarkable development of the cultural and creative industries (CCIs) in Asia, from the global popularity of the Japanese games and anime industries, to Korea’s film and pop music successes. While CCIs in these Asian cultural powerhouses aspire to become key players in the global cultural economy, Southeast Asian countries such as Malaysia and Thailand are eager to make a strong mark in the region’s cultural landscape. As the first handbook on CCIs in Asia, this book provides readers with a contextualized understanding of the conditions and operation of Asian CCIs. Both internationalising and de-Westernising our knowledge of CCIs, it offers a comprehensive contribution to the field from academics, practitioners and activists alike. Covering 12 different societies in Asia from Japan and China to Thailand, Indonesia and India, the themes include: State policy in shaping CCIs Cultural production inside and outside of institutional frameworks Circulation of CCIs products and consumer culture Cultural activism and independent culture Cultural heritage as an industry. Presenting a detailed set of case studies, this book will be an essential companion for researchers and students in the field of cultural policy, cultural and creative industries, media and cultural studies, and Asian studies in general.

Cultural Revolution Culture, often denigrated as nothing but propaganda, was liked not only in its heyday but continues to be enjoyed today. A Continuous Revolution sets out to explain its legacy. By considering Cultural Revolution propaganda art—music, stage works, prints and posters, comics, and literature—from the point of view of its longue durée, Barbara Mittler suggests it was able to build on a tradition of earlier art works, and this allowed for its sedimentation in cultural memory and its proliferation in contemporary China. Taking the aesthetic experience of the Cultural Revolution (1966–1976) as her base, Mittler juxtaposes close readings and analyses of cultural products from the period with impressions given in a series of personal interviews conducted in the early 2000s with Chinese from diverse class and generational backgrounds. By including much testimony from these original voices, Mittler illustrates the extremely multifaceted and contradictory nature of the Cultural Revolution, both in terms of artistic production and of its cultural experience.

Japanese war orphans in Manchuria are the forgotten victims of the Asia-Pacific War and Sino-Japanese relations, and this is an integral part of the Japanese government's 'postwar settlement' issues concerning its war responsibility and compensation.

The eleven chapters in this volume explore the process of carving out, in discourse and in practice, the boundaries delineating the state, the civil sphere, and the family in Japan from 1600 to 1950. One of the central themes in the volume is the demarcation of relations between the central political authorities and local communities. The early modern period in Japan is marked by a growing sense of a unified national society, with a long, common history, that existed in a coherent space. The growth of this national community inevitably raised questions about relationships between the imperial government and local groups and interests at the prefectural and village levels. Moves to demarcate divisions between central and local rule in the course of constructing a modern nation contributed to a public discourse that drew on longstanding assumptions about political legitimacy, authority, and responsibility as well as on Western political ideas.

Traditionally the "Chinese body" was approached as a totality and explained by sweeping comparisons of the differences that distinguished Chinese examples from their Western counterparts. Recently, scholars have argued that we must look at particular examples of Chinese images of the body and explore their intrinsic conceptual complexity and historical specificity. The twelve contributors to this volume adopt a middle position. They agree that Chinese images are conditioned by indigenous traditions and dynamics of social interaction, but they seek to explain a general Chinese body and face by charting multiple, specific bodies and faces. All of the chapters are historical case studies and investigate particular images, such as Han dynasty tomb figurines; Buddhist texts and illustrations; pictures of deprivation, illness, deformity, and ghosts; clothing; formal portraiture; and modern photographs and films. From the diversity of art forms and historical periods studied, there emerges a more complex picture of ways that the visual culture of the body and face in China has served to depict the living, memorialize the dead, and present the unrepresentable in art.

"“Chinese people should consume Chinese products!” This slogan was the catchphrase of a movement in early twentieth-century China that sought to link consumption and nationalism by instilling a concept of China as a modern “nation” with its own “national products.” From fashions in clothing to food additives, from museums to department stores, from product fairs to advertising, this movement influenced all aspects of China’s burgeoning consumer culture. Anti-imperialist boycotts, commemorations of national humiliations, exhibitions of Chinese products, the vilification of treasonous consumers, and the promotion of Chinese captains of industry helped enforce nationalistic consumption and spread the message—patriotic Chinese bought goods made of Chinese materials by Chinese workers in factories owned and run by Chinese. In China Made, Karl Gerth argues that two key forces shaping the modern world—nationalism and consumerism—developed in tandem in China. Early in the twentieth century, nationalism branded every commodity as either “Chinese” or “foreign,” and consumer culture became the place where the notion of nationality was articulated, institutionalized, and practiced. Based on Chinese, Japanese, and English-language archives, magazines, newspapers, and books, this first exploration of the historical ties between nationalism and consumerism reinterprets fundamental aspects of modern Chinese history and suggests ways of discerning such ties in all modern nations."