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Boys Love Manga and Beyond: History, Culture, and Community in Japan ed. by Mark McLelland et al. (review)

Boys Love Manga and Beyond: History, Culture, and Community in Japan ed. by Mark McLelland et al.... the one-dimensional way in which China has been represented (apparently television dramas are less overtly nationalistic), we should also see things in perspective by examining how the Chinese have depicted Japan over the same period and beyond. Media reports suggest that in 2012 alone there were some 70 anti-Japanese television series screened in China. In addition, Southern Weekly reported in March 2013 that 48 such series were being shot simultaneously in Hengdian World Studios in eastern China.3 To understand what is driving this massive volume of cultural production that has been noted by such reports, we need to complement Kirsch’s study by turning to books such as Chinese and Japanese Films on the Second World War. As the editors of that volume make clear, “for some, the war still haunts and infuriates.”4 The war continues to affect relations between China and Japan. While the editors suggest that there is a greater range of interpretations of the war in Japan compared to China, it is clear there are competing interpretations of the conflict, and we would do well to look at representations on both sides. Boys Love Manga and Beyond: History, Culture, and Community in Japan. Edited by Mark http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Japanese Studies Society for Japanese Studies

Boys Love Manga and Beyond: History, Culture, and Community in Japan ed. by Mark McLelland et al. (review)

Shamoon, Deborah
The Journal of Japanese Studies , Volume 43 (2) – Jul 22, 2017
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Publisher
Society for Japanese Studies
Copyright
Copyright © Society for Japanese Studies.
ISSN
1549-4721
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Abstract

the one-dimensional way in which China has been represented (apparently television dramas are less overtly nationalistic), we should also see things in perspective by examining how the Chinese have depicted Japan over the same period and beyond. Media reports suggest that in 2012 alone there were some 70 anti-Japanese television series screened in China. In addition, Southern Weekly reported in March 2013 that 48 such series were being shot simultaneously in Hengdian World Studios in eastern China.3 To understand what is driving this massive volume of cultural production that has been noted by such reports, we need to complement Kirsch’s study by turning to books such as Chinese and Japanese Films on the Second World War. As the editors of that volume make clear, “for some, the war still haunts and infuriates.”4 The war continues to affect relations between China and Japan. While the editors suggest that there is a greater range of interpretations of the war in Japan compared to China, it is clear there are competing interpretations of the conflict, and we would do well to look at representations on both sides. Boys Love Manga and Beyond: History, Culture, and Community in Japan. Edited by Mark

Journal

The Journal of Japanese Studies – Society for Japanese Studies

Published: Jul 22, 2017

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