Difference and Doubt in Christopher Nolan’s Inception

Blouin, Michael J.

doi:10.1057/9781137305220_8

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Spectacle Excess and White “Kawaii”1

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2016

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“…The other half of the Orientalist image of Japan is a postmodern fairyland. “It is imagined as a realm which protagonists from Western countries such as the U.S., Britain, or France wander into, lose themselves in, and eventually depart from in a figurative return home” (Blouin, , p. 318). This description surely fits Lavigne's music video.…”

Section: Spectacle Excess and White “Kawaii”mentioning

confidence: 99%

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

2016

Communication, Culture & Critique

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Singers Katy Perry and Avril Lavigne are among the most recent White women performers to appropriate Japanese femininity. In Perry's November 2013 performance of “Unconditionally,” she used Orientalist imagery of premodern Japan, and in Lavigne's 2014 single “Hello Kitty,” she used techno‐Orientalist imagery of Harajuku street fashion, kawaii, and Japanese‐as‐cyborg. I argue that like White women performers, who performed Japanese femininity in the turn of the 20th century, Perry and Lavigne caricatured Japanese femininity as a hybrid costume to advance their own subjectivities. Yet, I also show through deconstructive criticism that their spectacular use of juxtaposition and excess creates “obtuse meanings” in which subversive meanings escape and opportunistically challenge the dominant meaning of the texts.

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Section: Spectacle Excess and White “Kawaii”mentioning

confidence: 99%

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

2016

Communication, Culture & Critique

View full text Add to dashboard Cite

show abstract

Difference and Doubt in Christopher Nolan’s Inception

Cited by 1 publication

References 1 publication

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

“Turning Japanese”: Deconstructive Criticism of White Women, the Western Imagination, and Popular Music

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