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By Rhoda Blumberg

In 1853, few jap humans knew nation referred to as the US even existed.

for hundreds of years, Japan had remoted itself from the skin international via refusing to exchange with different nations or even refusing to assist shipwrecked sailors, overseas or jap. The country's humans nonetheless lived less than a feudal approach like that of Europe within the center a long time. yet every little thing started to switch while American Commodore Perry and his troops sailed to the Land of the emerging solar, bringing with them new technological know-how and know-how, and a brand new lifestyle.

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Extra resources for Commodore Perry in the Land of the Shogun

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In Oshii’s case, the characters tend to be modeled on Caucasian types. Consumers of and audiences for Japanese animation and games, it can be argued, may be aware of the Japanese origin of these commodities, but those texts barely feature ‘‘Japanese bodily odor’’ identified as such. 28 Recentering globalization Japan goes global: Sony and animation While the propensity of Japanese animators to make their products nonJapanese points to how a Western-dominated cultural hierarchy governs transnational cultural flows in the world,≤ Japan’s hitherto invisible and odorless cultural presence in the world has become more and more conspicuous since the late 1980s.

The popularity of Japanese game software is exemplified by the popularity of such games as Super Mario Brothers, Sonic, and Pokémon. As a director of Nintendo pointed out, according to one survey, Mario is a better-known character among American children than Mickey Mouse (Akurosu Hensh¯ushitsu 1995, 41–42). The huge success of Pokémon in the global market since 1998 further persuades us to make a serious scholarly investigation into Japanese cultural export. Pokémon’s penetration into global markets even exceeds that of Mario.

It suggests that foreign goods and texts are creatively misused, recontexualized in local sites, di√erently interpreted according to local cultural meaning. , Hannerz 1992; Lull 1995; Ang 1996). The ascent of Japanese transnational cultural power should be considered in the context of this wider vista of theoretical paradigm shifts, which attempt to attend simultaneously to the homogenizing forces of globalization and to transformative local practices in the formation of non-Western indigenized modernity, so as to understand the question of transnational cultural power.

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