The Banality of Boundaries: Performance of the Nation in a Japanese Television Comedy

Abstract

Through the framework provided by what Billig (1995) terms 'banal nationalism', this paper analyses performance of national identity in the Japanese media. The specific target for analysis is an episode of nodame cantabile, first broadcast on the Fuji Television Network in 2006. After a review of literature on Japanese nationalism a number of bordering processes are identified, in particular: the presentation of a Japan-The West dichotomy; the re-presentation of social relationships and semiotic markers of Japanese-ness; narrative devices that promote confidence in the Japanese mode of social organisation; and the role of 'trickster' played by a 'foreign' conductor. The significance of these processes becomes clear when placed within the context of what, in the literature, has been termed the emergence of a diverse and multicultural 'New Japan'. Although the observations contained in this paper do not refute this thesis, they do add a cautionary note. As will be shown, the representation of Otherness found in this episode, and the way in which 'Japanese-ness' is placed in relationships with the Other, highlights difference and instrumentalizes foreigners in a way that reinforces ideas of national and cultural boundedness. In order for a 'New Japan' to emerge it is argued that alternative forms of representation are needed; however the possibility of this or any kind of neutral representation is called into question. The paper concludes by considering avenues for further research, as well as the limits and potential of this type of interpretive research.

Nationalism and gender in the representation of non-Japanese characters’ speech in contemporary Japanese novels

“…Previous studies on how non-Japanese individuals are depicted on visual media such as television shows and commercials include Miller (1995), Creighton (1997), Yano (2004Yano ( , 2010, Iwabuchi (2005Iwabuchi ( , 2007, Perkins (2010), Hambleton (2011), Ota (2011), Doerr and Kumagai (2014), SturtzSreetharan (2015), and Suzuki (2015). Among these, Miller (1995), Yano (2004), Perkins (2010), SturtzSreetharan (2015), and Suzuki (2015) discuss how the Japanese language that non-Japanese individuals speak has been portrayed on television.…”

“…This study is concerned with two specific language ideologies that are pertinent to the depiction of non-Japanese speech: linguistic nationalism and normativity of feminine language. Linguistic nationalism in the context of Japanese society is often expressed in propriety terms; only the ethnically Japanese are supposed to own the Japanese language and can speak it competently (Miller 1995;McVeigh 2006;Perkins 2010). Feminine language normativity refers to the expectations of feminine language that society imposes upon female speakers in Japan (Okamoto and Shibamoto Smith 2004;Nakamura 2007Nakamura , 2013.…”

The contradictions of pop nationalism in the mangaGate: Thus the JSDF Fought There!

“…While wartime Japanese nationalism was marked by absolute devotion to Japan (chuukun aikoku) and absolute obedience to the emperor (zettai fukujuu), petit nationalism is a casual love of country displayed through national sporting events, interest in the Japanese language, and the learning of traditional Japanese crafts. Some writers (Hiroko 2008;Goldstein-Gidoni 2001;Perkins 2010) have equated petit nationalism with Michael Billig's (1995) 'banal nationalism'. However, while both concepts identify a casual form of nationalism there are important differences.…”

The Mediation of Nationhood: Communicating the World as a World of Nations

“…In relation to television, empirical studies have been conducted across a host of formats and settings, including soaps (Abu‐Lughod, ; Dhoest, ), comedy (Medhurst, ; Perkins, ), drama (Dhoest, ), lifestyle (Brunsdon & Morley, ; McElroy, ) and reality programs (Dhoest, ), documentaries (Roosvall, , Roy, ), and sport (Tzanelli, , Visacs, ). It should be reiterated that while ideas around the significance of nationhood are reproduced in each of these cases, the meanings they will have for different actors and institutions will vary enormously across social settings.…”

“…2 Although, a recent report by the consultancy firm, Deloitte, argued that ''the advent of social networks has enhanced, rather than diminished, the schedule's appeal as commentary on programs has expanded from the living room to a community''(Deloitte, 2012; http://www.deloitte.com/view/en_om/om/press/197dfd61017e5310 VgnVCM3000001c56f00aRCRD.htm). 3 In relation to television, empirical studies have been conducted across a host of formats and settings, including soaps (Abu-Lughod, 2005; Dhoest, 2009), comedy(Medhurst, 2007;Perkins, 2010), drama(Dhoest, 2004a), lifestyle(Brunsdon & Morley, 1978;McElroy, 2008) and reality programs(Dhoest, 2004b), documentaries(Roosvall, 2009, Roy, 2007, and sport(Tzanelli, 2004, Visacs, 2011. It should be reiterated that while ideas around the significance of nationhood are reproduced in each of these cases, the meanings they will have for different actors and institutions will vary enormously across social settings.…”