I will select 3 of the following questions, and from those, you will choose 2 to answer. (NOTE: you will write 2 essays.) (30 pts each) What I’m looking for: Does your essay show that you understand the question and have you answered the question completely? Accurately?

QUESTION

PART I: Essays. I will select 3 of the following questions, and from those, you will choose 2 to answer. (NOTE: you will write 2 essays.) (30 pts each)

What I’m looking for: Does your essay show that you understand the question and have you answered the question completely? Accurately? With specific references to the readings for each example? (And not just vague summaries that could be written by someone who didn’t do the readings/screenings?) In a well-constructed essay? That shows evidence of thought? Does your answer show that you have read or watched the material and understood it? (Hint: short pull quotes strengthen your argument)

1. Ito Kimio said, “One of the hallmarks of today’s consumer society is that people maintain a certain amount of distance from each other while using popular culture to mediate interactions and make friends.” First explain what this means in the context of his statement: what is he making an argument about? (Paraphrasing is ok; citing him is better.) Compare his argument with Galbraith’s on fujoshi: how are they similar and/or different. (Again, be specific; this is the intro paragraph.) Then, discuss TWO works from our class that address these ideas. Have a thesis.

Summer Wars (Hosoda Mamoru, 2009) – https://share.icloud.com/photos/0v35lwd7Q45LNPQOK-PIt7Ukw
-Patrick W. Galbraith, “Fujoshi: Fantasy Play and Transgressive Intimacy among ‘Rotten Girls’ in Contemporary Japan,” Signs, Vol. 37, No. 1 (September 2011): 219-240.
-Patrick W. Galbraith, The Moe Manifesto: An Insider’s Look at the Worlds of Manga,
Anime, and Gaming (Tokyo, Rutland, Vermont: Tuttle Publishing, 2014), 24-45.

– Anne Allison, “Pocket Capitalism and Virtual Intimacy: Pokémon as Symptom of Post-
Industrial Youth Culture,” in Figuring the Future: Globalization and the Temporalities of Children and Youth, edited by Jennifer Cole and Deborah Durham (Santa Fe, NM: School for Advanced Research Press, 2008), 179-195.

2. Allison writes: “Generically referred to as shōjo [girl], this has been the figure most associated with consumer culture. Assumed to bear the fewest responsibilities and pressures to be socially productive, the shōjo (as both subject and object) has come to stand as the counterweight to the enterprise society: a self-indulgent pursuer of fantasies and dreams through consumption of merchandise” (“Fierce Flesh,” 139). Use Sailor Moon to illustrate and explain Allison’s point. Then analyze TWO works (cultural or critical/theoretical are ok) that push back on or amplify this idea. Have a thesis.

https://www.viz.com/watch/streaming/media/sailor-moon-episode-92/7333/sub
https://www.youtube.com/watch?v=6TQFlVcPyUA
Anne Allison, “Fierce Flesh,” Millennial Monsters: 128-162); focus: 128-134.
Helen McCarthy, A Brief History of Manga, pp 58-91 (1991-2013)
Read TAKEUCHI Naoko, Sailor Moon (1992~) (Kodansha Comics, 2011), Volume 1. (Entire book)
Anne Allison, “Fierce Flesh,” Millennial Monsters: 128-162); focus: 128-134.

3. Your friend says, “Otaku are cool.” How do you respond? Start by explaining the origins of the term and how it changed through the 1990s by citing at least TWO SOURCES from our class. Then, explain whether you agree, disagree, or modified agreement/disagreement. Give three specific examples as evidence; these could come from critical essays or creative works (manga/anime) from our class. Have a conclusion.

-Higashimura, Princess Jellyfish – PDF
-Patrick W. Galbraith, “Fujoshi: Fantasy Play and Transgressive Intimacy among ‘Rotten Girls’ in Contemporary Japan,” Signs, Vol. 37, No. 1 (September 2011): 219-240.
-Patrick W. Galbraith, The Moe Manifesto: An Insider’s Look at the Worlds of Manga,
Anime, and Gaming (Tokyo, Rutland, Vermont: Tuttle Publishing, 2014), 24-45.

– Anne Allison, “Pocket Capitalism and Virtual Intimacy: Pokémon as Symptom of Post-
Industrial Youth Culture,” in Figuring the Future: Globalization and the Temporalities of Children and Youth, edited by Jennifer Cole and Deborah Durham (Santa Fe, NM: School for Advanced Research Press, 2008), 179-195.

ANSWER

Mediating Interactions and Consumer Culture: Exploring Popular Culture’s Influence on Relationships

Introduction

In today’s consumer society, Ito Kimio argues that people maintain a certain level of interpersonal distance while utilizing popular culture as a means to mediate interactions and establish connections. This suggests that popular culture plays a significant role in shaping social dynamics and friendships. Similarly, Patrick W. Galbraith’s analysis of fujoshi culture delves into the ways in which individuals form transgressive intimacies through their engagement with specific media content. By comparing these two perspectives, we can gain insight into how popular culture influences social interactions. This essay aims to explore the similarities and differences between Kimio’s and Galbraith’s arguments and analyze two works from our class that further explore these ideas.

Body

 Ito Kimio’s Argument on Mediated Interactions

Ito Kimio’s statement emphasizes how popular culture serves as a mediator for interpersonal connections in today’s society. It suggests that individuals rely on shared interests, cultural products, and media consumption to build friendships and relationships. This argument highlights the influence of popular culture in facilitating connections and bridging the gap between individuals who may maintain a certain level of distance in their interactions.

 Galbraith’s Perspective on Fujoshi Culture

Patrick W. Galbraith’s analysis of fujoshi culture provides another lens through which to examine the relationship between popular culture and interpersonal connections. Fujoshi refers to women who engage in consuming and creating media content that explores male-male relationships, often within manga and anime. Galbraith argues that fujoshi form transgressive intimacies through their shared interest in these narratives, establishing connections based on shared fantasies and alternative interpretations of the media. This perspective highlights the ways in which specific subcultures within popular culture can foster unique forms of social bonding.

 Sailor Moon: Illustrating Allison’s Perspective on Shōjo Culture

Anne Allison’s perspective on shōjo culture aligns with the notion that popular culture, particularly through the figure of the shōjo, influences consumer behavior and interpersonal dynamics. Using Sailor Moon as an example, we can observe how the shōjo figure embodies the pursuit of fantasies and dreams through consumption. Sailor Moon’s narrative centers around a group of young girls who transform into powerful heroines, and their storylines often revolve around self-discovery, romance, and empowerment through the consumption of merchandise. This exemplifies the idea that the shōjo figure represents a counterweight to societal pressures, allowing individuals to indulge in their desires and aspirations through the act of consumption.

Works Pushing Back on or Amplifying Allison’s Perspective

To further explore the influence of popular culture on consumer behavior and social dynamics, two works from our class can be examined. For example, “Millennial Monsters” by Anne Allison delves into the impact of Pokémon as a symptom of post-industrial youth culture. The book explores how the Pokémon franchise captures the attention and imagination of young consumers, shaping their desires, aspirations, and patterns of consumption. Additionally, “Princess Jellyfish” by Higashimura delves into the lives of otaku women and challenges societal expectations by portraying them as cool and empowered individuals who find solace and fulfillment through their shared interests in anime and manga.

Thesis

The mediating influence of popular culture on interpersonal connections and consumer behavior is evident in both Ito Kimio’s argument and Patrick W. Galbraith’s analysis of fujoshi culture. By examining works such as Sailor Moon, “Millennial Monsters,” and “Princess Jellyfish,” we can observe the ways in which popular culture shapes desires, fosters connections, and challenges societal norms.

Conclusion

The significance of popular culture in mediating interactions and influencing consumer behavior cannot be understated. Through the consumption of media, individuals form connections based on shared interests, fantasies, and aspirations. Ito Kimio’s argument highlights the role of popular culture as a means to bridge the gap between individuals, while Galbraith’s analysis of fujoshi culture explores how specific subcultures within popular culture can foster transgressive intimacies. Anne Allison’s perspective on shōjo culture, exemplified by Sailor Moon, further supports the idea that popular culture shapes consumer behavior and allows individuals to pursue their dreams and fantasies through consumption. Works such as “Millennial Monsters” and “Princess Jellyfish” provide additional insights into the influence of popular culture on social dynamics and challenge societal norms. In conclusion, understanding the impact of popular culture on mediated interactions and consumer behavior enhances our understanding of contemporary society and the ways in which individuals connect and engage with one another.

The Shōjo Figure and Consumer Culture: Exploring Subversive Narratives

Introduction

Anne Allison’s observation that the shōjo figure is closely associated with consumer culture raises intriguing questions about the role of this character in society. The shōjo is often perceived as an individual who bears minimal responsibilities and pressures to be socially productive, indulging in fantasies and dreams through the consumption of merchandise. This essay aims to delve into the significance of the shōjo figure as a counterweight to the enterprise society, using Sailor Moon as an illustrative example. Furthermore, it will analyze two works that either challenge or reinforce Allison’s perspective on the shōjo figure in relation to consumer culture.

Body

The Shōjo Figure as a Symbol of Consumer Culture

Anne Allison’s characterization of the shōjo as a symbol of consumer culture emphasizes her association with self-indulgence and the pursuit of fantasies. Sailor Moon, a popular manga and anime series created by Takeuchi Naoko, exemplifies this notion. The story follows a group of magical girls, led by Usagi Tsukino (Sailor Moon), who harness their powers to protect the world from evil forces. Throughout the narrative, the shōjo characters are portrayed as consumers of merchandise, with each transformation and power-up accompanied by the acquisition of new accessories and collectibles. This exemplifies the shōjo’s role as a symbol of consumer culture, engaging in the pursuit of dreams through material consumption.

 Works Challenging or Amplifying Allison’s Perspective

To gain a comprehensive understanding of the shōjo figure’s role in consumer culture, it is important to explore works that provide alternative viewpoints. “Fierce Flesh” by Anne Allison herself delves into the complexities of the shōjo figure, moving beyond the stereotype of self-indulgence to highlight the transformative potential of shōjo culture. By analyzing the narratives and characterizations within shōjo manga and anime, Allison demonstrates that the shōjo figure can serve as a catalyst for empowering self-expression and subverting traditional gender roles.

Additionally, Helen McCarthy’s “A Brief History of Manga” provides a historical perspective on the development of shōjo manga and its impact on consumer culture. McCarthy explores the evolution of shōjo narratives and their ability to address social issues, challenge societal norms, and provide a platform for self-identification and empowerment among readers. This work amplifies Allison’s perspective by showcasing the breadth and depth of shōjo narratives beyond mere consumption.

Thesis

While the shōjo figure is often associated with self-indulgence and consumer culture, the analysis of Sailor Moon and works such as “Fierce Flesh” and “A Brief History of Manga” reveals a more nuanced portrayal. The shōjo figure can serve as a powerful symbol of empowerment, enabling readers and viewers to challenge societal expectations, embrace their individuality, and explore diverse narratives.

Conclusion

The shōjo figure’s relationship with consumer culture is multifaceted and extends beyond surface-level self-indulgence. Through works like Sailor Moon, “Fierce Flesh,” and “A Brief History of Manga,” we can see the shōjo as a counterweight to the enterprise society, embodying a desire for self-expression, empowerment, and subversion of traditional gender roles. Understanding the complexities of the shōjo figure’s portrayal in consumer culture enhances our appreciation for its transformative potential and its impact on individual identity and societal norms.