There is an interesting article about the current image of Japanese culture at
trendwatching.comTurning Japanese? I Think SoWhat could Australian pop culture lovers see in Japan? Plenty, it seems. We're leaping for its pop outpourings faster than Uma Thurman in Kill Bill, writes Steve Dow.
Once, to find the next big thing in pop culture, you could always ask the urban tribes of New York City or Los Angeles, or check out what they were wearing from their caps to their trainers. No more. In 2004, you'd be better off asking a Japanese teenage girl about fashion or must-have gadgets. She knows the big fad of tomorrow. Fancy your Louis Vuitton bag in a Murkami design? But of course, Uma-san.
Japan's Marubeni Research Institute estimates Japanese cultural exports books, music, magazines, films and collectables at $15 billion in 2002, three times their value a decade earlier. And while Japan's pop exports are snapped up in South-East Asia, the language barriers in countries such as the United States and Australia are tumbling.
Local teenagers and 20-somethings blooded on PlayStation are proving themselves a visual generation, delighting in Japanese pop forms heard about through word of mouth or on the internet. BusinessWeek recently reported the Japanese pop tsunami could profoundly affect US culture merchants. Anne Allison, cultural anthropology chair at Duke University says, "The US has for a very long time been the centre of global culture movies, music, food but now that's no longer true."
The boom began with the king of video games: PlayStation, which was launched in late 1994, gave kids a crucial feeling of being in the driver's seat, says William Armour, an academic who teaches a Japanese pop culture course at the University of NSW. And Tamagotchis, the virtual LCD display pets launched in 1996, were a defining moment. "Children are powerless, and either with PlayStation or Tamagotchi, children were basically put in powerful positions," says Armour.
Also, the Pokemon computer game phenomenon introduced many children to the world of Japanese "anime", or animation, and "manga", or comic books. Now, says Jim Papagrigoriou, manager of Kings Comics in Pitt Street, the generation has outgrown Pokemon and discovered adult anime and manga. Manga represents 35 per cent of the store's sales, compared to 5 per cent five years ago. "Manga has latched on to a new generation," he says. "When they take it home, their parents aren't going to say, 'That's something I had'."
Partly driving this manga and anime explosion is the availability of English translations over the past five years or so. TOKYOPOP, a Los Angeles-based publisher, among others, snapped up the rights to many manga titles, recognising that the colossal, visually brilliant 180-plus page weekly comic tomes rival the popularity of newspapers in Japan. In Melbourne, film distribution company Madman is doing a roaring trade as Australia's biggest importer of Japanese anime feature films and shorts.
At Melbourne's Monash University, a manga library with more than 5000 titles has been established, and now has 300 members and 30 volunteer staff. Lecturer Craig Norris of Monash's arts faculty, who did his PhD on anime, says the library runs manga drawing classes; and these are filled with Anglo-Australians.
In the parlance of today's teenagers, Japanese culture is attractive because it feels "random", says Rob Marjenberg, a director of Sydney-based Heartbeat trends. Teens are now very visually literate, he says, and the eclecticism of Japanese pop art bright backgrounds, textures, and big-eyed characters accompanied by strange, sped-up music is appealing. Younger people are travelling to Japan more, he says, while in Australia they now regularly eat the likes of sushi, "the McDonald's of the urban office worker".
Kathy Baylor, a New York-based researcher for Trendwatching.com, says Japan's influence as the "leading exporter of pop culture cool" can be seen in Quentin Tarantino's Kill Bill films, the adaptation of the Japanese horror hit The Ring and the burgeoning popularity of Japanese director Beat Takeshi's movies. US director Sofia Coppola made the hit film Lost In Translation to convey how much she loved Tokyo.
The Japanese culture of kawaii or "cuteness" is increasingly pervasive in the West, too. Think of the Hello Kitty cat design, which has been around for 30 years now. Japanese teenage girls and women in their 20s are now such an important yardstick for pop culture marketeers because they're in the right place with cash to spare, says Baylor. Japanese tradition holds that a girl live rent-free with her parents until she marries. As a result, says Baylor, you get a human "demo with lots of expendable income".
If Generation Xers and baby-boomers fear they're missing the tsunami, consider what you might not have recognised as vintage anime and manga that has influenced the current wave. The late Osamu Tezuka, dubbed the God of Japanese comics, created Astroboy and Kimba The White Lion, seen on Australian screens at various times since the 1960s.
While Japanese academic studies in Australia boomed in the 1980s and early 1990s, fewer Australians have been learning the language since 1996. Armor says while the popularity of Japanese pop culture is rising here via English translations, learning the language helps students better understand the ideas and ideology behind manga and anime.
Worldwide, however, the Marubeni Institute estimates there are 3 million people outside Japan learning Japanese. Kinokuniya, the Japanese multinational book store, has seen manga sales rise 400 per cent in the two years its branch has been open in George Street, says the store's comics consultant Wai Chew Chan.
The most popular titles are anime tie-ins: Naruto, the ninja student; Rurouni Kenshin, a samurai epic, and Love Hina, a 14-volume epic about a man who inherits his grandmother's bathhouse, of all things. Chan says teenagers half of whom are Caucasian are the biggest buyers.
Whether the trend in Australia could ever mimic Tokyo, where commuters buy manga as often as newspapers, is unlikely, given manga is mass produced and thus cheaper in Japan. But the boom is undeniably here. The manga stories are prized for being long, engaging and often slowly paced. "I don't think it's a fad," says Chan. "People are learning to see comics as a way of reading."