'A Nation of a Hundred Million Idiots': A Social History of by Jayson Makoto Chun

By Jayson Makoto Chun

This booklet deals a heritage of jap tv audiences and the preferred media tradition that tv helped to spawn. In a relatively brief interval, the tv helped to reconstruct not just postwar jap pop culture, but additionally the japanese social and political panorama. in the course of the early years of tv, jap of all backgrounds, from politicians to moms, debated the results on society. the general public discourse surrounding the expansion of tv printed its position in forming the identification of postwar Japan throughout the period of high-speed development (1955-1973) that observed Japan reworked into an financial strength and one of many world's most sensible exporters of tv programming.

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Extra info for 'A Nation of a Hundred Million Idiots': A Social History of Japanese Television, 1953-1973

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The patina of imperial solidarity could not erase the reality of diversity at the local level. Not all Japanese accepted the official culture of the emperor system exactly as the government taught them. Ella Wiswell recalls a mid-1930’s conversation with a Kyushu farmer, Mrs. Tanimoto. Wiswell saw a scroll portraying the imperial couple hanging in Tanimoto’s home, and asked why the Empress always wore a dress rather than a kimono. Wiswell recalls Mrs. Tanimoto’s reply:“ ‘Indeed, she does wear dresses.

With American relations with the Soviets deteriorating, SCAP, in the “reverse course” of 1947, moved away from dismantling the structures of empire and instead focused on rebuilding the Japanese economy and military as part of American Cold War policies. SCAP’s new policy orientation now 38 “A Nation of a Hundred Million Idiots”? emphasized the rehabilitation of prewar bureaucrats, industrialists, and politicians who had the skills to manage a complex capitalist economy. Rather than abolish the empire, SCAP begun to reconstruct its prewar apparatus.

The media agencies in 42 “A Nation of a Hundred Million Idiots”? this city produced the overwhelming majority of electronic media products such as movies, and later television programs. Serving as the setting, Tokyo functioned as “center stage” for the whole nation. Audiences observed scenes from Tokyo or representations of a modern urban lifestyle as “Tokyo” living. By the 1964 Tokyo Olympics, broadcasting had transformed Tokyo life into the template of a new Japanese lifestyle and the public face of Japan to the world.

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