Her publications include Tokyo in Transit: Japanese Culture on the Rails and Road (2010). Alisa Freedman is an Associate Professor at the University of Oregon and Editor-in-Chief of the U.S.–Japan Women’s Journal.
It uses particular case studies as a way into examining the broader themes in Japanese culture and provides a thorough analysis of the historical and contemporary trends that have shaped artistic production, as well as politics, society, and economics. Specifically designed for use on a range of undergraduate and graduate courses, Introducing Japanese Popular Culture is a comprehensive textbook offering an up-to-date overview of a wide variety of media forms. 1 Introducing Japanese Popular Culture: Serious Approaches to Playful DelightsĢ Kumamon: Japan’s Surprisingly Cheeky Mascotģ Hello Kitty Is Not a Cat?!?: Tracking Japanese Cute Culture at Home and AbroadĤ The Grotesque Hero: Depictions of Justice in Tokusatsu Superhero Television Programsĥ Tokyo Love Story: Romance of the Working Woman in Japanese Television DramasĦ The World Too Much with Us in Japanese Travel Televisionħ Nuclear Discourse in Final Fantasy VII: Embodied Experience and Social CritiqueĨ The Cute Shall Inherit the Earth: Post-Apocalyptic Posthumanity in Tokyo Jungleĩ Managing Manga Studies in the Convergent Classroomġ0 Purikura: Expressive Energy in Female Self-Photographyġ2 Hatsune Miku: Virtual Idol, Media Platform, and Crowd-Sourced Celebrityġ3 Electrifying the Japanese Teenager Across Generations: The Role of the Electric Guitar in Japan’s Popular Cultureġ4 The “Pop Pacific”: Japanese-American Sojourners and the Development of Japanese Popular Musicġ5 AKB Business: Idols and Affective Economics in Contemporary Japanġ6 In Search of Japanoise: Globalizing Underground Musicġ7 Korean Pop Music in Japan: Understanding the Complex Relationship Between Japan and Korea in the Popular Culture Realmġ8 The Prehistory of Soft Power: Godzilla, Cheese, and the American Consumption of Japanġ9 The Rise of Japanese Horror Films: Yotsuya Ghost Story (Yotsuya Kaidan), Demonic Men, and Victimized WomenĢ0 V-Cinema: How Home Video Revitalized Japanese Film and Mystified Film HistoriansĢ1 Apocalyptic Animation: In the Wake of Hiroshima, Nagasaki, Godzilla, and BaudrillardĢ2 Toy Stories: Robots and Magical Girls in Anime MarketingĢ3 Condensing the Media Mix: The Tatami Galaxy’s Multiple Possible WorldsĢ4 Gekiga, or Japanese Alternative Comics: The Mediascape of Japanese CountercultureĢ5 Sampling Girls’ Culture: An Analysis of Shōjo Manga MagazinesĢ6 The Beautiful Men of the Inner Chamber: Gender-Bending, Boys’ Love, and Other Shōjo Manga Tropes in ŌokuĢ7 Cyborg Empiricism: The Ghost Is Not in the ShellĢ8 Murakami Haruki’s Transnational Avant-Pop LiteratureĢ9 Thumb-Generation Literature: The Rise and Fall of Japanese Cellphone Novelsģ0 Hanabi: The Cultural Significance of Fireworks in Japanģ1 Kamishibai: The Fantasy Space of the Urban Street Cornerģ2 Shibuya: Reflective Identity in Transforming Urban Spaceģ3 Akihabara: Promoting and Policing “Otaku” in “Cool Japan”ģ4 Japan Lost and Found: Modern Ruins as Debris of the Economic Miracleģ5 Cute Fashion: The Social Strategies and Aesthetics of Kawaiiģ6 Made in Japan: A New Generation of Fashion Designersģ7 Clean-Cut: Men’s Fashion Magazines, Male Aesthetic Ideals, and Social Affinity in Japanģ9 Aida Makoto: Notes from an Apathetic ContinentĤ0 Art from “What is Already There” on Islands in the Seto Inland Sea
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