To fully understand the prospects for US-China technological competition, we need to examine how ... more To fully understand the prospects for US-China technological competition, we need to examine how the economy is complexly "embedded" (Granovetter, 1985; Polanyi, 1944)within the broader context of society, culture, politics, and international relations. This paper focusses on the theory of strategic action fields (SAF)(Fligstein & McAdam, 2011, 2012). SAF was used to disentangle this complexity by investigating the case of advanced technologies in the nextgeneration automotive industry-for example, autonomous driving and electric vehicles-for two reasons. First, the technologies required for the next generation of automobiles span most, if not all, of the advanced technologies that are the source of recent US-China tension. Second, although the two superpowers are key players in the industry, Japan is equally competitive in the global industry (both with automakers such as Toyota, Nissan, and Honda as well as parts companies such as Denso). In sum, focusing on the next-generation automotive industry enables us to look beyond state-to-state relations between the US and China in the area of advanced technologies.
Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported... more Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. PostWar confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies-such as cultural studies, history, and sociology-have begun to contribute to rigorous discussions of Chinese cinema in Japan.
Film awards and film festivals are one of important mechanisms that structure film markets, with ... more Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, 'official' Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of 'field theory' in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.
The aim of this paper is to describe the recent transformation of the automobile industry from a ... more The aim of this paper is to describe the recent transformation of the automobile industry from a manufacturing industry to include aspects of the service and creative industries. Firstly, it reviews the recent trend of the automobile industry as a service industry. Secondly, it discusses the automobile industry's move toward the creative industries. It examines these two trends, mostly based on the next-generation automobile industry in Japan. Finally, it discusses the implications of the above transformation of the automobile industry on academic studies of the creative industries, and argues for what it calls a strong programme in creative industries studies. It also provides a provisional note on government policies in the era of the next-generation automobile industry.
To fully understand the prospects for US-China technological competition, we need to examine how ... more To fully understand the prospects for US-China technological competition, we need to examine how the economy is complexly "embedded" (Granovetter, 1985; Polanyi, 1944)within the broader context of society, culture, politics, and international relations. This paper focusses on the theory of strategic action fields (SAF)(Fligstein & McAdam, 2011, 2012). SAF was used to disentangle this complexity by investigating the case of advanced technologies in the nextgeneration automotive industry-for example, autonomous driving and electric vehicles-for two reasons. First, the technologies required for the next generation of automobiles span most, if not all, of the advanced technologies that are the source of recent US-China tension. Second, although the two superpowers are key players in the industry, Japan is equally competitive in the global industry (both with automakers such as Toyota, Nissan, and Honda as well as parts companies such as Denso). In sum, focusing on the next-generation automotive industry enables us to look beyond state-to-state relations between the US and China in the area of advanced technologies.
Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported... more Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. PostWar confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies-such as cultural studies, history, and sociology-have begun to contribute to rigorous discussions of Chinese cinema in Japan.
Film awards and film festivals are one of important mechanisms that structure film markets, with ... more Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, 'official' Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of 'field theory' in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.
The aim of this paper is to describe the recent transformation of the automobile industry from a ... more The aim of this paper is to describe the recent transformation of the automobile industry from a manufacturing industry to include aspects of the service and creative industries. Firstly, it reviews the recent trend of the automobile industry as a service industry. Secondly, it discusses the automobile industry's move toward the creative industries. It examines these two trends, mostly based on the next-generation automobile industry in Japan. Finally, it discusses the implications of the above transformation of the automobile industry on academic studies of the creative industries, and argues for what it calls a strong programme in creative industries studies. It also provides a provisional note on government policies in the era of the next-generation automobile industry.
... still fascinates so many of us: “Without Mao, the Chinese miracle might have begun 30 years e... more ... still fascinates so many of us: “Without Mao, the Chinese miracle might have begun 30 years earlier” (p. 352). ROSS TERRILL Harvard University [email protected] Allies of the State: China's Private Entrepreneurs and Democratic Change. By JIE CHEN and BRUCE J. DICKSON. ...
This paper contributes to the emerging sociological research on cosmopolitanism by presenting a h... more This paper contributes to the emerging sociological research on cosmopolitanism by presenting a historical and institutional analysis of the production (and to a lesser extent reception) of an arguably "cosmopolitan" film, My Nightingale (Watashi no uguisu, dir. Shimazu Yasujiro, 1943), produced at the height of Japan's ethnic-nationalist period during the Second World War. I ask the following three key research questions. First, what aspects, if any, of the film text can be considered to entail cosmopolitanism? Secondly, whether, how, and why could the possibly cosmopolitan aspects of the film text emerge under the existence of ethnic-nationalist policies, institutions, attitudes, and behavior existent in the Japanese colonial empire? Thirdly, what implications does this case study have on the ongoing debates on cosmopolitanism? By providing answers to these questions, I argue that ahistorical, normative call for cosmopolitanism may hinder our grasp of the possibility that some forms of claim to cosmopolitanism entail the rationality of narrow ethnocentric nationalism. As a historical hindsight, it is easy to dismiss Manchuria's slogan of gozoku kyōwa (peaceful co-existence of the five nationalities) and ōdo rakudo (heavenly place of virtuous rule) as simple political propaganda. But it may also be the case that this apparently cosmopolitan justification might have strengthened the degree of repressiveness and discrimination of the Japanese colonial rule in Manchuria. In other words, I contend that the case study of the Manchurian Motion Picture Corporation and the production of My Nightingale suggests the possible co-existence of "cosmopolitan dream" and "colonial hegemony."
In 2019 at the 74 th session of the UN General Assembly, 2021 was declared the International Year... more In 2019 at the 74 th session of the UN General Assembly, 2021 was declared the International Year of Creative Economy for Sustainable Development" (UNCTAD Creative Economy Prgoramme n.d.b). It is notable that Indonesia, one of ASEAN countries, was the main sponsor of the proposal; this corroborates the increasing importance of creative economy in the ASEAN region. As the UNCTAD programme recognizes, creative economy contributes not only to quantitative increase in trade and development but also to qualitative improvement toward sustainable development, which includes understanding of and respect for the value of cultural diversity. In other words, creative economy "can foster income generation, job creation and export earnings while promoting social inclusion, cultural diversity and human development" (UNCTAD 2010, p. 10). In this discussion paper, I will introduce a case of creative economic activities in Southeast Asia, and how they may lead not only to economic development but also to cultural dialogue and understanding among various societies. More specifically, in this short paper, I will briefly introduce the case of the interaction between Indonesian and Japanese worlds of popular music and their industries, and provide several implications for the future prospect of creative economy in ASEAN and beyond.
The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or i... more The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
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