By Rhoda Blumberg
In 1853, few eastern humans knew kingdom known as the USA even existed.
for hundreds of years, Japan had remoted itself from the skin global by way of refusing to exchange with different international locations or even refusing to assist shipwrecked sailors, international or eastern. The country's humans nonetheless lived less than a feudal process like that of Europe within the heart a long time. yet every thing started to swap whilst American Commodore Perry and his troops sailed to the Land of the emerging solar, bringing with them new technological know-how and expertise, and a brand new lifestyle.
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Extra info for Commodore Perry in the Land of the Shogun
And how similar or di√erent is it from American cultural hegemony? In this chapter, I will present a theoretical consideration of the recent rise in Japanese cultural exports and will explore how that rise might be situated within the study of cultural globalization. Rather than seeing an easy comparison between Japanese cultural exports and ‘‘Americanization,’’ or dismissing this phenomenon as merely frivolous, I will instead suggest that it o√ers some new and signiﬁcant insights into understanding the decentered nature of transnational cultural power.
The incursion can be seen as a conﬁrmation of the supremacy of American software creativity and therefore of Japan’s second-rate ability as a software producer. , Sumitomo–TCI or Itochu–Time Warner). This suggests that Japanese cultural inﬂuence and presence in the world is still overshadowed by its economic power (Herman and McChesney 1998, 104). Seen this way, the purpose of the Japanese takeover was not to kill the American soul; on the contrary, it was to make Hollywood omnipresent. Japanese ingenuity in hardware production and American genius in software go hand in hand because ( Japanese) consumer technologies work as ‘‘distribution systems’’ for (American) entertainment products (Berland 1992, 46).
But the thesis neglects analysis of empirical evidence of audience reception in subordinate cultures, and that is particularly problematic. In considering the global cultural ﬂow and foreign cultural inﬂuence in a particular region, ‘‘cultural domination’’ is in many cases a discursive construct rather than the reﬂection of the subordinate people’s actual experience. , Kuisel 1993). The cultural imperialism thesis bases its argument of domination on a political economy approach and does not pay adequate attention to whether, and how, audiences are culturally dominated through the act of consuming media texts from the center.