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Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan

Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan The Asia Pacific Journal of Anthropology 299 Besides following the same theoretical framework, several authors corroborate each contributor’s research and thus help to integrate the whole volume. The balance in contents is achieved by combining a broad scope of topics either stressing institutions or agency. As an empirical examination for a generalised theory, this collection is successful in structure and also convincing in contents. It helps to illuminate the complicated transition of developing countries from a comparative perspective through the conceptual paradigm of individualisation. GENG LI Anthropology, College of Asia and Pacific The Australian National University # 2012, Geng Li http://dx.doi.org/10.1080/14442213.2012.680706 Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan GABRIELLA LUKACS Durham and London, Duke University Press, 2010 x, 267 pp., ill., bibliography, index, ISBN: 978 0 8223 4824 5, GBP £14.99 (paper) Gabriella Luka ´ cs’s account of the role of the torendii dorama, or trendy drama, a genre of primetime serial television production which peaked in 1990s Japan, combines textual analysis with an ethnographic study of producers and consumers of trendy drama. Lukacs aims to demonstrate the affective nature of these dramas, and identify their role in subject-formation at a critical point in Japan’s http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Asia Pacific Journal of Anthropology Taylor & Francis

Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan

Allan, Jenny
The Asia Pacific Journal of Anthropology , Volume 13 (3): 3 – Jun 1, 2012
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Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan

Abstract

The Asia Pacific Journal of Anthropology 299 Besides following the same theoretical framework, several authors corroborate each contributor’s research and thus help to integrate the whole volume. The balance in contents is achieved by combining a broad scope of topics either stressing institutions or agency. As an empirical examination for a generalised theory, this collection is successful in structure and also convincing in contents. It helps to illuminate the complicated transition...
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Publisher
Taylor & Francis
Copyright
Copyright Jenny Allan
ISSN
1740-9314
eISSN
1444-2213
DOI
10.1080/14442213.2012.680708
Publisher site
See Article on Publisher Site

Abstract

The Asia Pacific Journal of Anthropology 299 Besides following the same theoretical framework, several authors corroborate each contributor’s research and thus help to integrate the whole volume. The balance in contents is achieved by combining a broad scope of topics either stressing institutions or agency. As an empirical examination for a generalised theory, this collection is successful in structure and also convincing in contents. It helps to illuminate the complicated transition of developing countries from a comparative perspective through the conceptual paradigm of individualisation. GENG LI Anthropology, College of Asia and Pacific The Australian National University # 2012, Geng Li http://dx.doi.org/10.1080/14442213.2012.680706 Scripted Affects, Branded Selves: Television, Subjectivity and Capitalism in 1990s Japan GABRIELLA LUKACS Durham and London, Duke University Press, 2010 x, 267 pp., ill., bibliography, index, ISBN: 978 0 8223 4824 5, GBP £14.99 (paper) Gabriella Luka ´ cs’s account of the role of the torendii dorama, or trendy drama, a genre of primetime serial television production which peaked in 1990s Japan, combines textual analysis with an ethnographic study of producers and consumers of trendy drama. Lukacs aims to demonstrate the affective nature of these dramas, and identify their role in subject-formation at a critical point in Japan’s

Journal

The Asia Pacific Journal of Anthropology – Taylor & Francis

Published: Jun 1, 2012

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