ing "modernity" even if not during its "late" period, or needs much deeper theorizing to substantiate it. One feels with most of the chapters in the book that relatively young authors are striving to establish their professional credentials by proposing attractive-sounding theorizations that they do not in fact carry through or substantially establish in reality. Sadly, the essay by Lukács, which if it stood alone as an original work would be a substantial contribution to this book, is simply lifted almost word-for-word from chapter 3 of her own book, not a wise scholarly strategy. The volume is better read as a set of very accomplished and wellresearched essays on contemporary Japanese televisual culture and its industry, and the chapters speak to each other, although that conversation would have been greatly strengthened by more editorial intervention and linking and could have gone much farther to fulfilling the intentions of the lead editor (Yoshimoto) for the book as set out in the preface and introduction. My two major criticisms of both books are that, first, both neglect to deepen their analysis of the role of advertising and the advertising-driven nature of television programming in Japan. While mentioned in passing, this
The Journal of Japanese Studies – Society for Japanese Studies
Published: Feb 1, 2012
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