The recent transnational reach of Japanese television dramas in East and Southeast Asia is unprecedented, and not simply in terms of the range and scale of diffusion, but also of the intense sympathy many young Asians feel toward the characters in Japanese dramas, so that they cope with their own modern lives by emulating the lives on screen. Through the empirical analysis of how Japanese youth dramas are (re)produced, circulated, regulated, and consumed in East and Southeast Asia, each chapter in this volume variously explores the ways in which intra-Asian cultural flows highlight cultural resonance and asymmetry in the region under the decentering processes of globalization. Key questions include: What is the nature of Japanese cultural power and influence in the region and how is it historically overdetermined? How is it similar to and different from "Americanization" and other Asian cultural sub-centers? What kinds of images and sense of intimacy and distance are perceived through the reception of Japanese youth dramas?

When we imagine the activities of Asian American women in the mid-twentieth century, our first thoughts are not of skiing, beauty pageants, magazine reading, and sororities. Yet, Shirley Jennifer Lim argues, these are precisely the sorts of leisure practices many second generation Chinese, Filipina, and Japanese American women engaged in during this time. In A Feeling of Belonging, Lim highlights the cultural activities of young, predominantly unmarried Asian American women from 1930 to 1960. This period marks a crucial generation—the first in which American-born Asians formed a critical mass and began to make their presence felt in the United States. Though they were distinguished from previous generations by their American citizenship, it was only through these seemingly mundane “American”activities that they were able to overcome two-dimensional stereotypes of themselves as kimono-clad “Orientals.” Lim traces the diverse ways in which these young women sought claim to cultural citizenship, exploring such topics as the nation's first Asian American sorority, Chi Alpha Delta; the cultural work of Chinese American actress Anna May Wong; Asian American youth culture and beauty pageants; and the achievement of fame of three foreign-born Asian women in the late 1950s. By wearing poodle skirts, going to the beach, and producing magazines, she argues, they asserted not just their American-ness, but their humanity: a feeling of belonging.

In recent years, a large number of young Japanese have been migrating to New York and London for the purpose of engaging in cultural production in areas such as dance, fashion, DJing, film, and pop arts in the hope of 'making it' as artists. In the past, this kind of cultural migration was restricted to relatively small, elite groups, such as American artists in Paris in the 1920's, but Cultural Migrants from Japan looks at the phenomenon of tens of thousands of ordinary, middle-class Japanese youths who are moving to these cities for cultural purposes, and it questions how this shift in cultural migration can be explained. Following Appadurai's theory of the relation between electronic media and mass migration, and using ethnographies of twenty-two young migrants over a five year period, Fujita examines how television, film, and the internet influence this mobility. She challenges emerging orthodoxies in the general discussion of transnationalism, demonstrating the disjunction migrants experience between the pre-existing expectations created by media exposure, and the reality of creating and living as a 'transnational' artist participating in a global community. Intersecting long-term, multi-sited ethnography with emerging transnational and globalization theory, Cultural Migrants from Japan is a timely look at the emerging shift in concepts of national identity and migration.

Popular Culture in Asia consists studies of film, music, architecture, television, and computer-mediated communication in China, Japan, South Korea, Taiwan, the Philippines, Malaysia, and Singapore, addressing three topics: urban modernities; modernity, celebrity, and fan culture; and memory and modernity.

Following the recent success of Taiwanese film directors, such as Hou Hsiao-hsien, Edward Yang, Ang Lee and Tsai Ming-liang, Taiwanese film is raising its profile in contemporary cinema. This collection presents an exciting and ambitious foray into the cultural politics of contemporary Taiwan film that goes beyond the auterist mode, the nation-state argument and vestiges of the New Cinema. Cinema Taiwan considers the complex problems of popularity, conflicts between transnational capital and local practice, non-fiction and independent filmmaking as emerging modes of address, and new possibilities of forging vibrant film cultures embedded in national (identity) politics, gender/sexuality and community activism. Insightful and challenging, the essays in this collection will attract attention to a globally significant field of cultural production and will appeal to readers from the areas of film studies, cultural studies and Chinese culture and society.

To convey the image of a responsible power willing to contribute to regional stability and cooperation, China has shifted from a single-minded preference for bilateralism to an active participation in East Asian regionalism in the recent decades. This development has inspired discussions over whether a rising China could play a leadership role in building an institutionalized architecture for regional cooperation in East Asia. Nevertheless, this has not happened as East Asian regional cooperation and relevant activities remain mostly ad hoc and informal, especially when compared to regions such as Europe. To what extent has China contributed or constrained the development of regionalism in East Asia? What are China’s desired roles and objectives in East Asian regional cooperation? What is the level of trust that other regional players have for China in regional cooperation? This book seeks answers to these questions by exploring China’s motivations and strategic calculations as well as its policy practices in East Asian economic and security cooperation. This book was published as a special issue of the Journal of Contemporary China.

This book explores people’s everyday experience of the media in Asian countries in confrontation with huge social change and transition and the need to understand this phenomenon as it intersects with the media. It argues for the centrality of the media to Asian transformations in the era of globalization. The profusion of the media today, with new imaginations, new choices and contradictions, generates a critical condition for reflexivity engaging everyday people to have a resource for the learning of self, culture and society in a new light. Media culture is creating new connections, new desires and threats, and the identities of people are being reworked at individual, national, regional and global levels. Within historically specific social conditions and contexts of the everyday, the chapters seek to provide a diversity of experiences and understandings of the place of the media in different Asian locations. This book considers the emerging consequences of media consumption in people’s everyday life at a time when the political, socio-economic and cultural forces by which the media operate are rapidly globalizing in Asia.