Feeling Asian Modernities: Transnational Consumption of by Koichi Iwabuchi

By Koichi Iwabuchi

The contemporary transnational achieve of eastern tv dramas in East and Southeast Asia is remarkable, and never easily when it comes to the variety and scale of diffusion, but additionally of the serious sympathy many younger Asians think towards the characters in eastern dramas, so they take care of their very own glossy lives through emulating the lives on screen.

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In so far as this love comedy depicts a strong, free woman who fosters a weak, unassertive man, it is clearly a parody of Long Vacation. In addition to this, the relationships forged between the two main characters and the supporting characters of Higashijujo Tsukasa, a deputy director surgeon who is engaged to Kanno Sakurako, and Shiota Wakaba, Sakurako's colleague who is in love with Nakahara Yosuke, is clearly following the steps of the previous two programs. Moreover, in so far as Kanno Sakurako is a cheerful and free woman who manages her job as a flight attendant efficiently and approaches men boldly, she may be seen as a character in the tradition of Akana Rika and Hayama Minami, or as a character who can be considered an extension of them, or even a copy version of them.

It is likely that viewers watched this program with light laughter containing various nuances of self-ridicule and derision. I say light laughter containing various nuances because, by depicting the characters of the program in an overly comical and overly deformed manner, the viewer is, on the one hand, invited to laugh at Sakurako's words and actions, but on the other hand, the viewer is also invited to laugh with Sakurako because she recognizes herself in "us," the viewers. However, as a result, we find ourselves affixing the existence of yamatonadeshiko (pure and beautiful Japanese womanhood), which has not changed at all from before and will never waver from its place, as a process of confirmation.

Despite the official prohibition of the inflow of elements of Japanese popular culture, some Korean audiences watch Japanese TV dramas through pirated videos and the internet, both inside and outside Korea. Park's examination of Korean-American audiences' viewing of Japanese and Korean TV dramas tells us the way in which those Asian TV dramas have different resonance and meanings to Korean diasporas in Los Angeles. Residence in the US offers not just a context in which Korean-American youths routinely meet both people from Japan in everyday life and the culture of Japan through the consumption of TV dramas that are not permitted in Korea.

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