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<v Speaker 1>Hello, and welcome to another student takeover episode of The

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<v Speaker 1>Sociology Show. This episode is with Olive Smith and she's

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<v Speaker 1>going to be talking about romanticization the effects of globalization

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<v Speaker 1>on Japan. Fascinating stuff. Thank you very much for sending

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<v Speaker 1>it in a file, Olive. Before we get to the episode, though,

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<v Speaker 1>just to let you know that the Sociology Show podcast

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<v Speaker 1>just do go ahead. All you need to do is

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<v Speaker 1>Most of the podcast that gets sent to me around

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<v Speaker 1>ten minutes, but they can be as long as you like.

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<v Speaker 1>This episode by Olive is around twenty minutes long, real

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<v Speaker 1>fascinating in depth look into globalization and so why not

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<v Speaker 1>give it a go. So if you do want to

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<v Speaker 1>have a go at recording your own podcast, then do

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<v Speaker 1>send it in to me at the email address which

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<v Speaker 1>is the Sociology Show podcast at gmail dot com. So

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<v Speaker 1>let's have a listen to this episode then. This is

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<v Speaker 1>from Olive Smith, who attends Westcliffe High School for Girls

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<v Speaker 1>in Essex, and the title of this episode is Romanticization

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<v Speaker 1>the effects of Globalization on Japan. Enjoy As already likes.

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<v Speaker 2>To assume we are moving into a more postmodern world.

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<v Speaker 2>I am particularly interested in how globalization affects the world

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<v Speaker 2>around us. For those who don't know what globalization is,

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<v Speaker 2>it is a sociological term for how the boundaries of social, political,

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<v Speaker 2>and economic means have been broken down across the world,

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<v Speaker 2>so you're able to access information from everywhere at any

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<v Speaker 2>point through the Internet, and Giddins, who's a sociologist, described

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<v Speaker 2>it as a runaway world that it's moving so quickly

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<v Speaker 2>and we can't stop it, and it was actually dubbed

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<v Speaker 2>the space of flows by Manuel Castele and other sociologists

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<v Speaker 2>because information is constantly moving and there's no way to

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<v Speaker 2>stop it. So particularly I wanted to focus on Japan

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<v Speaker 2>and how globalization has impacted not only its culture at home,

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<v Speaker 2>but more so how we in the West have adopted

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<v Speaker 2>its culture and not necessarily twisted it, but how we've

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<v Speaker 2>taken it and changed it from what it necessarily was

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<v Speaker 2>in Japan. So Japan has actually been trading with the

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<v Speaker 2>West since fifteen forty three when a Portuguese ship wrecked

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<v Speaker 2>in Tanegeshima, and particularly in the eighteen hundreds, we saw

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<v Speaker 2>this rise of Japanese art and culture spreading across Europe,

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<v Speaker 2>which was described as Philip Bertie in eighteen seventy two

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<v Speaker 2>as Japanism. And in the modern day, I think we

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<v Speaker 2>can all see how ideas and parts of Japanese culture

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<v Speaker 2>have really established well in the West. But I particularly

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<v Speaker 2>wanted to focus on four elements media, fashion, image, and food.

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<v Speaker 2>So when I say media, I'm really mostly going to

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<v Speaker 2>be focusing on the Japanese art form of anime. It

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<v Speaker 2>is a huge thing here in the West. I myself,

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<v Speaker 2>I'm not a particular fan. I wouldn't say that I'm

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<v Speaker 2>a die hard anime watcher, but I have watched the

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<v Speaker 2>media now and then, and actually in the West, until

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<v Speaker 2>about nineteen eighty eight, it was just called japanimation. We

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<v Speaker 2>didn't actually adopt the term from japan anime, but that

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<v Speaker 2>was until the film Akira came out in nineteen eighty eight,

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<v Speaker 2>and it's sort of been attributed to the birth of

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<v Speaker 2>anime as a real big thing in the media in

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<v Speaker 2>the West, which was followed by Pokemon and Dragon Ball

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<v Speaker 2>Z in the late nineties. And even though I was

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<v Speaker 2>born in two thousand and seven, I remember that those

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<v Speaker 2>were shows that were frequently on TV growing up, especially Pokemon. Now,

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<v Speaker 2>what a good thing is about things like anime spreading

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<v Speaker 2>across the world like this is that it keeps an

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<v Speaker 2>art style alive. Not necessarily saying that anime was a

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<v Speaker 2>dying art form, I don't think it is by any means,

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<v Speaker 2>but it really helped to sort of inspire people across

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<v Speaker 2>the world and allow them to explore this art style

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<v Speaker 2>that maybe they weren't aware of before, and they really

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<v Speaker 2>like it, and they're able to really delve deep into

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<v Speaker 2>other artists that maybe aren't from their country or aren't

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<v Speaker 2>as well known just because they aren't doing these really

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<v Speaker 2>famous modern or traditionalist art pieces. But it also breaks

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<v Speaker 2>some boundaries. So obviously, because this is an art form

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<v Speaker 2>coming from Japan, a different culture, some people might have

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<v Speaker 2>preconceived notions about Asia, particularly East Asia, and because of

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<v Speaker 2>this art form, they are able to be immersed somewhat

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<v Speaker 2>in the culture of that country just from the media

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<v Speaker 2>that they are being shown. And I think that could

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<v Speaker 2>be quite a powerful thing, being able to look at

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<v Speaker 2>just a piece of media and whilst it might not

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<v Speaker 2>accurately portray one hundred percent what that culture is about,

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<v Speaker 2>you're able to see elements of it and possibly be

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<v Speaker 2>interested and research further. However, like everything, there are always

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<v Speaker 2>negatives to this, and I think particularly this has come

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<v Speaker 2>in live actions of traditional anime and manga pieces done

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<v Speaker 2>in Japan. Two very prominent ones off the top of

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<v Speaker 2>my head, was the Ghost in the Shell movie with

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<v Speaker 2>Scarlett Johansson. Now she's a white woman who was cast

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<v Speaker 2>to play an Asian woman. And I haven't really seen

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<v Speaker 2>a lot of back classroomers. Obviously there has been, but

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<v Speaker 2>definitely at the time at least I didn't see a

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<v Speaker 2>lot of people being like, isn't it a bit weird

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<v Speaker 2>to just completely erase a characters of original ethnicity. And

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<v Speaker 2>the other one was the Death Note remake in twenty

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<v Speaker 2>seventeen from Netflix that actually has a well known actor

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<v Speaker 2>in it. It's got Willem Dafoonet playing Reuke, the shinagami

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<v Speaker 2>who's one of the main characters, but it's they decided

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<v Speaker 2>to take it from Japan and not only said it

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<v Speaker 2>in America, but changed the characters to be American. So

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<v Speaker 2>rather than have Misa, I believe one of the character's

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<v Speaker 2>name is, it was Mia. And it just feels like,

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<v Speaker 2>how could we not have changed the story or at

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<v Speaker 2>least adapted it if we wanted it to be in America?

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<v Speaker 2>Could we have not adapted it? So that is based

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<v Speaker 2>off of Death Note, but it is not completely one

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<v Speaker 2>to one, but instead we've just inherently whitewashed it. I

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<v Speaker 2>guess you could say to make it more appealing to

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<v Speaker 2>a Western audience, and the main problem with that is

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<v Speaker 2>is that that just removes opportunities from Asian actors. I'm

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<v Speaker 2>not claiming to know everything about the struggles it means

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<v Speaker 2>to be an Asian actor in Hollywood. I am not

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<v Speaker 2>Asian nor an actor, but I know from things I've

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<v Speaker 2>seen in the media, from things that Asian actors have said,

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<v Speaker 2>that they really struggle to get out of those stereotypical

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<v Speaker 2>roles that Hollywood has placed on them. And so by

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<v Speaker 2>taking characters that arguably should go to these East Asian actors,

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<v Speaker 2>these Japanese actors, and giving them to any famous white

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<v Speaker 2>actor or actress, it just really creates stigma in this

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<v Speaker 2>whitewashing and it normalizes it, which is such an issue

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<v Speaker 2>and widespread issue which I really feels like needs to

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<v Speaker 2>be addressed more often. So I'm gonna talk about fashion.

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<v Speaker 2>So fashion is actually one of the main reasons I

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<v Speaker 2>decided to focus on Japan. I myself am interested in

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<v Speaker 2>a particular j fashion style that's a subcultural style of

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<v Speaker 2>harajuku called Lalita, not the book as some people think,

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<v Speaker 2>but rather it is a style that takes inspiration from

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<v Speaker 2>Rococo and Victorian England silhouettes, and it's all about big,

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<v Speaker 2>proofy dresses in fun prints, and there are a lot

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<v Speaker 2>of different styles within that. It's really a subculture within

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<v Speaker 2>a subculture. But there are many other styles. We've got

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<v Speaker 2>yaru vk og Decora, just to name a few that

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<v Speaker 2>I particularly look at myself, and as someone who's interested

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<v Speaker 2>in fashion, I find it quite interesting how you can

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<v Speaker 2>see how other cultures have responded to like sociological movements.

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<v Speaker 2>So Lalita is a a response to a feminism movement,

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<v Speaker 2>and it is all about empowering women by giving them

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<v Speaker 2>the ability to dress however they want, dress as like

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<v Speaker 2>pretty as they want, as feminine as they want, without

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<v Speaker 2>feeling judged, without making them feel like they're going to

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<v Speaker 2>be sexualized for it. And I think it's so important

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<v Speaker 2>to not only with globalization see that happening, but be

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<v Speaker 2>able to take inspiration from it.

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<v Speaker 3>Sociology Show podcast relies on the kind contributions of sponsorship

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<v Speaker 3>continued support of the show.

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<v Speaker 2>Again, a negative is though, is that we see these

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<v Speaker 2>death of subcultures. We see them warped and with fast

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<v Speaker 2>fashion and micro trends, we see how particularly Lolita, I've

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<v Speaker 2>seen they take the basic ideas without looking further into

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<v Speaker 2>what the style is, about what certain brands are there,

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<v Speaker 2>and because it's a subculture, the things they do as

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<v Speaker 2>part of the fashion, it's not just a fashion. With

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<v Speaker 2>most of these like a lifestyle, particularly with Yaru and VK.

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<v Speaker 2>They have specific things that the people who indulge in

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<v Speaker 2>them focus on, and because of social media and globalization,

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<v Speaker 2>this has been watered down. The other element of fashion,

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<v Speaker 2>though it is obviously traditional Japanese dress, The one I'm

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<v Speaker 2>focusing on is the kimono, which is obviously probably the

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<v Speaker 2>most well known one. There was actually a huge scare

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<v Speaker 2>in probably like the two thousand's early twenty ten of

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<v Speaker 2>people worrying that the traditional garments of Japan were going

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<v Speaker 2>to die out because the young people were only wearing

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<v Speaker 2>them for special occasions and they weren't feeling connected to them.

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<v Speaker 2>And I guess a real positive of globalization is that

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<v Speaker 2>people look at those styles from other countries and they're like, Oh,

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<v Speaker 2>I really like that, Let me incorporate that into my

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<v Speaker 2>fashion designs. And so, for example, we have Tom Brown

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<v Speaker 2>in his spring summer show in twenty sixteen using the

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<v Speaker 2>kimono's inspiration and allowing for it to be preserved in

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<v Speaker 2>a way. There's also been a resurgence of the komono

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<v Speaker 2>in Japan's recently, though, with the sort of pushing that

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<v Speaker 2>kimono is a personal thing and allowing the youth to

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<v Speaker 2>creative freedom with the way they wear it so they

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<v Speaker 2>feel more connected to it because it's more personalized with

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<v Speaker 2>the other cultures. However, looking at that and taking inspiration,

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<v Speaker 2>there is obviously the room for the debate of whether

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<v Speaker 2>it's cultural appropriation or appreciation. And while you may not

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<v Speaker 2>be able to discern yourself whether the actions you were

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<v Speaker 2>taking or for the right and wrong reasons, it is

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<v Speaker 2>something we need to keep in mind when we're looking

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<v Speaker 2>at other cultures, particularly in dress, how we're adapting these

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<v Speaker 2>things to fit our own culture, our own style, and

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<v Speaker 2>make sure that we're not just cherry picking the things

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<v Speaker 2>that are appropriate to us, or inherently changing them and

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<v Speaker 2>ignoring their history. A big thing about fashion is its

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<v Speaker 2>history and how it's evolved. And if you ignore the

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<v Speaker 2>cultural history behind how these fashions have come about, you've

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<v Speaker 2>really watered down their meaning, which could be seen as

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<v Speaker 2>cultural appropriation. Now, with image and food, I'm going to

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<v Speaker 2>try and keep it as brief as possible because there

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<v Speaker 2>isn't a lot to say. But with image in particular,

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<v Speaker 2>I find that when we google Japan, when we look

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<v Speaker 2>at Japan and Japan appears in the media to us

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<v Speaker 2>in the West, it always looks very pristine, very pretty.

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<v Speaker 2>It focuses a lot on the culture of Japan that

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<v Speaker 2>is deeply rooted into the country. But with this we

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<v Speaker 2>tend to ignore some of the darker side of Japan.

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<v Speaker 2>So in terms of crime statistics, certain sexual crimes have

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<v Speaker 2>very high rates in the country. Particularly mobile phones over

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<v Speaker 2>there have to have the ringers on because of the

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<v Speaker 2>amount of like reports of people taking photos of women

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<v Speaker 2>on the train without their consent. But mainly I've seen

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<v Speaker 2>this erasure of the colonial past of Japan in World

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<v Speaker 2>War Two. Now it is really really heavy. So I'm

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<v Speaker 2>not going to elaborate on everything that they did, but

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<v Speaker 2>countries like Korea have felt that the atrocities that happened

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<v Speaker 2>as a result of Japan's sort of imperialist colonial past

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<v Speaker 2>that they tried to cover up, they haven't really fully

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<v Speaker 2>been addressed. And I know that this has been something

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<v Speaker 2>that obviously every country doesn't want they're horrible past to

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<v Speaker 2>come up. But I think because of this particular rise

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<v Speaker 2>in acknowledging the imperialist past of England, of America, the

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<v Speaker 2>backlash of America trying to cover up certain topics to

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<v Speaker 2>do with the racism in their past, I feel like

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<v Speaker 2>this should be a cut si extended to the whole

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<v Speaker 2>of the world. And whilst I'm not I don't want

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<v Speaker 2>it to come across as I'm just targeting Japan on this,

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<v Speaker 2>I think there are many countries that do this that

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<v Speaker 2>needs to be addressed. I think because I'm talking about Japan,

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<v Speaker 2>I should make it known that we have a very

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<v Speaker 2>romanticized view of Japan that doesn't necessarily reflect the history

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<v Speaker 2>of the country all the way through. Now with food,

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<v Speaker 2>it's a lot lighter. There's not really a lot of

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<v Speaker 2>negatives to say about food. One of the particular things

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<v Speaker 2>I've seen is food like sushi raman. It is like

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<v Speaker 2>everywhere you can get in supermarket. There are really popular

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<v Speaker 2>fast food chains such as Wagon, Mammas and Yosushi that's

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<v Speaker 2>just a couple of them, obviously loads and also small

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<v Speaker 2>independent businesses as well. It has really become a big

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<v Speaker 2>thing over here for people to enjoy food from other cultures,

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<v Speaker 2>and Japan I think has really benefited from this, Like

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<v Speaker 2>you can literally get Japanese food in most supermarkets, in

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<v Speaker 2>most places on the high street they will have something.

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<v Speaker 2>People take inspirations from the spices, from the dishes. I

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<v Speaker 2>think with food it is so positive how it ignores

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<v Speaker 2>somewhat like how society may view a culture, and it

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<v Speaker 2>purely focuses on taking inspiration and bringing a positive light

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<v Speaker 2>to food in different countries. I love learning about food

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<v Speaker 2>in different countries. I love eating it. Whilst I may

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<v Speaker 2>not necessarily like something, it's always good to experience what

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<v Speaker 2>other cultures eat, what other countries eat, And with cooking

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<v Speaker 2>practices especially, they can be adapted in so many ways.

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<v Speaker 2>So there is actually a cooking technique called yoshoku now

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<v Speaker 2>that is a Japanese cooking technique where they take traditional

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<v Speaker 2>Western dishes such as fried chicken, and they make it

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<v Speaker 2>using traditional Japanese cooking methods. So think chicken katsu that

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<v Speaker 2>is fried chicken made with traditional Japanese methods. And again

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<v Speaker 2>that is such with all their hate that I think

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<v Speaker 2>can come in this world. Food spreading like this can, honestly,

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<v Speaker 2>for some people, be a way to learn about other cultures.

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<v Speaker 2>It is such an easy way to learn about another

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<v Speaker 2>culture just going into shop seeing food you don't necessarily

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<v Speaker 2>know and being like, Oh, that looks nice, I'll try it,

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<v Speaker 2>or oh, I've never heard of that before, let me

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<v Speaker 2>look more into it, or oh I really like that,

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<v Speaker 2>I want to learn more about it and try other dishes.

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<v Speaker 2>Food is a really positive way to bring people together

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<v Speaker 2>because we all need food. So it's unsurprising really that

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<v Speaker 2>Japanese food has really taken a hold of the Western

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<v Speaker 2>food market. So to conclude, I really wanted to focus

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<v Speaker 2>on the question why do we idolize Japan. There are

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<v Speaker 2>so many countries across the world. Why is Japan in

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<v Speaker 2>particular one of the ones that we idolized the most

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<v Speaker 2>in the West. And I've come up with three reasons

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<v Speaker 2>why I think that Japan has become sort of this

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<v Speaker 2>token child in Asia for the West to look at.

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<v Speaker 2>The first one is pop culture, and the West is

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<v Speaker 2>so greenland to pop culture. Nowadays, you not necessarily anime

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<v Speaker 2>like I've focused on in my paragraph, but just you

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<v Speaker 2>might see a name, or you might see movies taking

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<v Speaker 2>place in Japan. You might have characters from Japan that

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<v Speaker 2>wear traditional garments, perform traditional tasks, traditional cultural practices, and

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<v Speaker 2>that just really helps to cement in people's mind like

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<v Speaker 2>an idea of the country. And obviously that has positives

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<v Speaker 2>and negatives. You can learn more about the country just

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<v Speaker 2>f on this basic overview, but some people may take

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<v Speaker 2>that face value and really see Japan as this beacon

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<v Speaker 2>of light in the world, so to speak. That it

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<v Speaker 2>may not necessarily be. It has a very rich culture.

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<v Speaker 2>That is probably a great example of how even with globalization,

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<v Speaker 2>even with detraditionalization, which is a phrase Giddens users, it

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<v Speaker 2>has really held its roots and its culture. I feel

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<v Speaker 2>like it's still something that spreads quite a lot throughout

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<v Speaker 2>its society. And in America and England we may not

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<v Speaker 2>feel that we have this deep rooted culture like Japan,

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<v Speaker 2>and some people might see that and be like, wow,

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<v Speaker 2>that's not necessarily inspirational, but that sort of feeling like heartwarming,

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<v Speaker 2>I guess you could say. And they really idolize the

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<v Speaker 2>ability of a country to be innovative and yet still

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<v Speaker 2>hold its roots, and that takes us to the final

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<v Speaker 2>point I came up with. They are a very stereotypical

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<v Speaker 2>view in the West of how East Asia can be innovative.

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<v Speaker 2>Their economic model is actually nicknamed the East Asian model

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<v Speaker 2>in the West. It is very highly revered over here,

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<v Speaker 2>and I think because of this, we've come to with

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<v Speaker 2>this stereotypical idea that they are leaders, they are in

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<v Speaker 2>a and whilst that's you can't say that maybe that's

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<v Speaker 2>not necessarily the case. They are definitely they definitely have

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<v Speaker 2>a very strong economy because they have a lot of

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<v Speaker 2>positives about them. They're innovators, they have a rich culture

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<v Speaker 2>that they've held onto, and they are ingrained into our

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<v Speaker 2>pop culture. It's very easy to look past maybe some

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<v Speaker 2>of the negatives and look past our own romanticized view

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<v Speaker 2>of the country. This has been my very brief overview

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<v Speaker 2>of how globalization has affected Japan, and I hope you

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<v Speaker 2>enjoyed and thank you so much for listening.

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<v Speaker 3>Sociology Show podcast relies on the kind contributions of sponsorship

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<v Speaker 1>M Yeah