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- Convenors:
-
Forum Mithani
(Cardiff University)
Elisabeth Scherer (University of Duesseldorf)
Emma Horsley-Heather (School of Oriental and African Studies, University of London)
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- Discussant:
-
Griseldis Kirsch
(SOAS, University of London)
- Section:
- Media Studies
- Sessions:
- Wednesday 25 August, -
Time zone: Europe/Brussels
Short Abstract:
Producers of Japanese television are responding to the changing social and media landscape in diverse ways. While some are making adaptations, others are sticking to familiar formats. This panel examines how Japanese television has evolved in recent years by focusing on three genres of programming.
Long Abstract:
In times of a changing social and media landscape, 'traditional' forms of media, such as television, are faced with the decision to either adapt or face an uncertain future. Broadcasters and creators of television content have approached this dilemma in different ways. While some have sought to reflect the transformation Japanese society has experienced over the past few decades, others have remained faithful to tried-and-tested formulas and formats, offering reassuring familiarity in a time of turbulent change and crisis. This panel considers how Japanese television is responding to the challenges it faces during the 21st century by focusing on three genres of programming.
The first paper looks at changes in children's programming over the past seven decades. Superficially, little appears to have changed, with many of the earliest programmes continuing to air. The presenter considers the reasons for this apparent consistency and examines how innovations and internationalisation have influenced children's broadcasting in Japan.
Another enduring institution of Japanese television is NHK's morning drama (asadora), broadcast since 1961, and the subject of the second paper in this panel. In the face of media diversification and dwindling audiences, national broadcaster NHK has had to reposition the asadora, which is closely tied to the concept of nation and 'traditional' television. The presenter considers how NHK conceptualises its audience and the strategies it uses to adapt to the changing media landscape.
Continuing with the theme of drama, our third paper focuses on romantic fictional narratives broadcast in the evening serial (renzoku) format. In response to falling ratings and social changes, television drama creators have increasingly sought to produce content that appeals to older, female viewers, including content that challenges conventional perceptions of motherhood and romantic or sexual desire. The presenter examines how successful these narratives are in reframing such perceptions within the context of competing public discourses on womanhood.
Accepted papers:
Session 1 Wednesday 25 August, 2021, -Paper short abstract:
Television drama creators have increasingly sought to produce content that appeals to older, female viewers, including content that challenges mainstream perceptions of motherhood and romantic or sexual desire. This paper examines how successful they are in reframing such discourses.
Paper long abstract:
As the digital age marches on, 'traditional' forms of media are increasingly forced to adapt or risk becoming redundant. This is particularly so for television in Japan, which has experienced significant audience diversification since the 1980s. As ratings dwindle, the urgency to create programming that captures the attention of the increasingly discerning viewer has not abated. In the case of television drama, which is often credited not only for its attempt to reflect contemporaneous social trends but also, in some cases, to inspire them, there has been an increasing awareness of the need to offer diverse representations of women, who make up the majority of the audience. As women are marrying and having families later, if at all, creators of drama must reflect these changes, if they are to appeal to their core audience. Not only are drama heroines becoming older, they are beginning to challenge taboos regarding motherhood, desire and sexuality, with varying degrees of success. In particular, there has been a trend for representations of single mothers pursuing romantic relationships with younger men, breaking the pristine fantasy of the undesiring mother. Female writers and producers have played a significant role in pushing these boundaries. At the same time, creators of drama must be careful not to alienate mainstream audiences with messages that are perceived as being too controversial, particularly within the context of a conservative backlash against the social advancement of women. Focusing its gaze on the romantic drama genre, this presentation will consider to what extent producers are successful in maintaining this delicate balancing act whilst reframing discourses of female desire, motherhood and older women.
Paper short abstract:
In times of a changing media landscape, Japan's public broadcaster NHK has to reposition itself. One key factor in this context is the morning drama (asadora), which is closely tied to the concept of the nation and to 'traditional TV'.
Paper long abstract:
Traditional, nationally oriented television is increasingly dissolving: Audiences today consume media productions independent of time and geographical space. Public broadcasters must reorient themselves and find other ways to address their audience. A particularly interesting example in this context is the Japanese morning drama (asadora), which has been broadcast on NHK since 1961 and is very closely tied to the concept of the nation. The presentation will show how NHK conceptualizes its audience and which strategies the broadcaster uses to reposition asadora in the changing media landscape. With the asadora, it is not only a long-running, quasi-institutionalized TV series that is at stake, but also NHK's role as a public broadcaster and the role of television as a national institution.
Paper short abstract:
A brief look at how Japanese children's television has changed, or not, through its nearly seven decades of history. From Sazae-san to Super Shiro! What does this mean for the early audience? What might it say about the society it exists in?
Paper long abstract:
From threatening children with getting square eyes from watching too long, to using the set as a babysitter, most parents' acknowledge television is part of their children's lives. Japanese children's television broadcasting spans nearly seventy years during which some programmes have been broadcast nearly the entire time (winning Guinness Book of World Record entries) whilst others are far newer. Japan may be unique in its early years broadcasting regarding this aspect of seemingly unchanged programme formats. Certainly in the UK, whilst there are comparisons between the two countries during the formation of the earliest TV channels and children's broadcasting, where the UK innovated and changed in the 70's, Japan kept some of its original programmes and formats to date. This begs the question, how is that possible? What circumstances allow such a lack of change?
The perceived innocence of children's television telling a story for entertainment, or basic literacy and numeracy education, hides other levels of encoded discourse. Are these discourses the reason that some of the programmes have not changed? How do the newer offerings of children's programming fare? Are they really beacons of change and innovation or are they simply modified continuations? Have internationality and globalisation significantly changed children's broadcasting in Japan? What does this children's television window on Japanese society tell us?