There is something very contradictory and simplistic (矛盾単純？) about promoting Japanese pop culture to attract soft power globally but demonizing foreigners who then arrive at Japan's shores when that effort is in fact successful.
I do understand the desire to enhance the country's defense capabilities...Japan's neighborhood is increasingly dangerous thanks to the Xi regime. Even the left-leaning Lee administration in the ROK is open to defense cooperation with the Japanese, something that would've been exceedingly rare in the Moon-Abe days. I think outside of China and certain corners of the ROK rearmament won't be as controversial. Unless China also works to reduce tensions in the region, the international community (such as it is) will the current defense modernization program in Japan (and pretty much everywhere else in Asia, including India, the Philippines, Vietnam, etc.) as a logical response. That's not to say amending the constitution would be a good idea; just that the defense-buildup by itself won't really dampen the world's hunger for Japanese culture. Xenophobia, especially along the lines of Sanseito, definitely will though.
I wonder sometimes if the long and steady building of international affection toward Japanese pop culture was in part due to the relative safety and security of the post-WW2 peace. Granted, I'm not saying that Japan's cultural producers owe their success to Pax Americana (esp. since that relationship has had its difficulties; kurofune and WW2 being noteworthy examples)--rather that if American security is less than guaranteed and rearmament and neighbor conflict is really on the table, how will that change Japanese pop culture? I think it will have to; I just don't know how. Takaichi may not want Japan's creative industries to change for fear of killing a golden goose now, but that may not be up to her (or her successor) if the US continues to do...whatever it's doing now.
Whatever happens though, I am confident Japan's creative industries will react to and work through whatever momentous changes the future brings with more art. I too just hope it stays progressive and vibrant, as well.
I do too. Many creators were complicit in advancing the imperial regime policies during the lead up to wartime and during wartime itself. Postwar creators were intimately familiar with the suffering the conflict caused, which was why they veered as hard away from those values as they could. It also helped that Japan was getting richer during this time. It is getting poorer in many ways now, which is why Takaichi’s “strong, rich Japan” pitch resonates in much the same way MAGA does with disillusioned Americans.
Great analysis- thanks for posting it !
There is something very contradictory and simplistic (矛盾単純？) about promoting Japanese pop culture to attract soft power globally but demonizing foreigners who then arrive at Japan's shores when that effort is in fact successful.
I do understand the desire to enhance the country's defense capabilities...Japan's neighborhood is increasingly dangerous thanks to the Xi regime. Even the left-leaning Lee administration in the ROK is open to defense cooperation with the Japanese, something that would've been exceedingly rare in the Moon-Abe days. I think outside of China and certain corners of the ROK rearmament won't be as controversial. Unless China also works to reduce tensions in the region, the international community (such as it is) will the current defense modernization program in Japan (and pretty much everywhere else in Asia, including India, the Philippines, Vietnam, etc.) as a logical response. That's not to say amending the constitution would be a good idea; just that the defense-buildup by itself won't really dampen the world's hunger for Japanese culture. Xenophobia, especially along the lines of Sanseito, definitely will though.
I wonder sometimes if the long and steady building of international affection toward Japanese pop culture was in part due to the relative safety and security of the post-WW2 peace. Granted, I'm not saying that Japan's cultural producers owe their success to Pax Americana (esp. since that relationship has had its difficulties; kurofune and WW2 being noteworthy examples)--rather that if American security is less than guaranteed and rearmament and neighbor conflict is really on the table, how will that change Japanese pop culture? I think it will have to; I just don't know how. Takaichi may not want Japan's creative industries to change for fear of killing a golden goose now, but that may not be up to her (or her successor) if the US continues to do...whatever it's doing now.
Whatever happens though, I am confident Japan's creative industries will react to and work through whatever momentous changes the future brings with more art. I too just hope it stays progressive and vibrant, as well.
I do too. Many creators were complicit in advancing the imperial regime policies during the lead up to wartime and during wartime itself. Postwar creators were intimately familiar with the suffering the conflict caused, which was why they veered as hard away from those values as they could. It also helped that Japan was getting richer during this time. It is getting poorer in many ways now, which is why Takaichi’s “strong, rich Japan” pitch resonates in much the same way MAGA does with disillusioned Americans.