Posts Tagged: television

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7
Jan 11

Anime, Manga, Video Games and the Non-Existent Youth Bill

On December 15th, the Tokyo Assembly (part of the local government) approved Bill 156, a reworking of an earlier-proposed bill referred to as “the Non-Existent Youth Bill.” Bill 156, sometimes called the Tokyo Youth Ordinance Act, is causing a stir in the Japanese entertainment industry because of its often vague and sometimes overly strict mandates for the creators, publishers, and sellers of anime, manga, and video games.

The original intent of the bill seemed to be aimed at what’s called “lolita” or “shota” content in an effort to protect the “non-existent” (fictional) youth and, in the government’s opinion, reduce deviancy and suicidal thoughts in the actual youth who may be exposed to these series. In Japan, strangely, what’s allowed in terms of potentially sexual content even when it comes to children (so long as they’re fictional characters) hasn’t been that regulated. “Lolikon” (“Lolita complex”) refers to anime, manga, and video games that feature (fictional) young girls in risque situations and “shotakon” (“Shotaro complex”), which is less popular but still somewhat prevalent, refers to the same with young (fictional) boys. While often risque, most of these types of series are not outright sexual (although some can be). Nevertheless, under the new law, any fictional character under the age of 13 must not be “wholly or partially naked” or shown wearing swimwear in anime, manga, or video games. However, all such content–including the outright sexual–will still be allowed if it’s sold exclusively to adults and not aired on TV.

Bill 156 potentially impacts much more than just this somewhat contentious kind of content. In an effort to completely regulate the anime, manga, and video game industries, sexual content–even if just slightly risque and not outright sexual–may have to be censored if aired on TV. The Bill has also mandated that violence be toned down, which impacts some of the most popular anime and manga in the country. Content that features homosexual or incestual relationships may also be censored or, in the latter’s case, outright banned.

However, at the moment, all of the bill is vague and creators are struggling to understand what will and won’t be allowed. At the last minute, political opposition to the bill (who didn’t have enough power to overturn the bill) requested that a rider be attached to allow anime, manga and video games that are culturally relevant to remain uncensored and accessible to the general public. (The exact words of the bill ask censors to consider “merits based on artistic, social, educational, and satirical criticism criteria” when allowing content to be produced.) This may apply to such pieces of entertainment as the works of Studio Ghibli, which generally receive favorable reviews from critics and are enjoyed by the general population at large. However, this again is vague and may cause further confusion.

Another point of contention with Bill 156 is that it does not apply to live-action TV shows or movies, nor does it apply to books. Actual children can still be shown in swimwear, for example, and live-action movies can be as violent as they please. This leads many to believe that the bill is a movement sparked by anti-otaku (socially awkward extreme anime, manga, and video game fans) politicians with tenuous data at best how this kind of content “hurts” the Tokyo youth.

Publishers are creators are expected to comply by changing the type of new content they produce on April 1st; sellers are allowed to continue selling old material under pre-Bill 156 laws until July 1st. Publishers and creators are trying to protest the bill by withdrawing their presence at the Tokyo Animation Fair in March.

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17
Dec 10

Kouhaku Uta Gassen: Red and White Song Battle

Now we’re going to switch our focus over the next few weeks to New Year’s celebrations in Japan, as the New Year is a much more important holiday in Japanese culture than Christmas. For the basics of the New Year celebration, read more here. We’ll look at a few fun specifics of the holiday celebration over the next few weeks.

Since 1951, an annual entertainment tradition has become a part of the Japanese culture on New Year’s Eve. First broadcast on radio for a couple of years, the Kouhaku Uta Gassen (“Red and White Song Battle”), often called the Kouhaku for short, has been aired on TV since 1953. A live-broadcast singing competition, the Kouhaku now lasts about four hours and ends shortly before midnight, allowing for the more typical TV countdowns when it reaches the midnight hour.

The Kouhaku is a showdown between singers. Not at all for amateur singers, the annual competition extends private invitations to popular or upcoming Japanese pop and rock singers as well as classic enka singers. It’s considered a great honor in the music industry to secure a position in the competition, as it can either propel your career or validate your position as a current hot commodity in the industry. Decades ago, as many as 81% of the population tuned in to watch this event. These days, the percentage of people watching may be as low as 30% to 40%, but that’s still extremely high in terms of television ratings, so the event is an annual cultural spectacle.

The competition features musical performances by the invited guests split into two teams. The red team (akagumi) consists of all female performers and the white team (shirogumi) consists of all male performers. (If there are groups or bands with male and female performers, their team membership is determined by the gender of the lead singer.) There are ten judges from a variety of fields to offer commentary and vote on the winning team, but the audience in the venue can vote as well. Like American Idol, some viewers at home are allowed to vote and help determine the winning team, but the home voters must be subscribers to a certain digital broadcasting service.

One more note on the program–sometimes the fashions, makeup, hairstyles and dancing routines can cause as much fervor as the actual singing! Since the performance is broadcast live, some last-minute costume changes sneak by the program’s directors (a somewhat common ploy when singers want to wear risque or outrageous outfits).

You can see some clips from a Kouhaku here.

What do you think of the Kouhaku? What would you compare it to in your country? Would you like to see an all-stars performance of popular singers from your country?

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19
Nov 10

The Japanese Game/Variety Show

“Japanese game shows,” perhaps more accurately referred to as Japanese variety shows, are fairly famous around the world as a genre. Known for their over-the-top wackiness, Japanese variety shows have inspired spin-offs in other countries, such as America’s I Survived a Japanese Game Show, as well as parodies in popular programming like The Simpsons. Of course, an outsider’s view of the genre can be a little warped, as some of the parodies make the variety shows seem even more wacky than they are, but the fact is that a Japanese variety show can be pretty strange to a person not accustomed to the genre.

Most Japanese variety shows combine a series of quizzes, musical performances, stunts, pranks, and comedy routines. They may have Japanese celebrity guests who do more than just answer a few questions and put on a performance–they can participate in all the stunts and quizzes as well. The stunts can range from physical challenges to eating food to designing underwear. There’s always something new and bizarre awaiting those who tune in.

The Japanese variety show may also be known for its over-the-top costumes and set designs. Perhaps more over-the-top than costumes and set designs are actually the actions of the host(s) and guests on the show. Japanese humor relies largely on physical humor and zany expressions, perhaps somewhat like Jim Carrey humor during his height of popularity in the 1990s. So when Japanese variety shows are trying to get a laugh, the host(s) and guests can do some pretty strange-seeming things to someone who’s not into physical humor.

Perhaps the most popular Japanese variety show is Waratte Iitomo! (“It’s Okay to Laugh!”), which has been on air with new episodes five days a week since 1982. Japanese comedian Tamori (real name Morita Kazuyoshi) has been the host the entire time and has even earned accolades in the 2003 Guinness Book of World Records for having hosted 5000 episodes of the show.

Here are a few examples of Japanese variety shows:

Waratte Iitomo

Eggs

Have you ever watched any Japanese variety shows? Did you like them or find them odd (or both)? Do they remind you of any shows from your own country?

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26
Mar 10

Japanese Television: Dorama

In the U.S., the goal of virtually every television show is to get renewed for another season. The successful shows are renewed for a total of three, five, ten or even twenty years (The Simpsons, if you’re wondering) even if, as fans often discover, the longer a show runs, the weaker the writing and the quality of the production becomes. In many parts of the world, though, what is effectively known as the mini-series in America is the standard for fictional shows.

Japan is one such example. There are many long-running variety shows, reality shows and shows aimed at children, but the vast majority of fictional shows in Japanese TV are short-running. Only when a show is really quite successful will it get a sequel series—but even that sequel series will run for a pre-determined amount of time or may even be a one-time special bonus episode. In lieu of a TV-original sequel special, the very most popular Japanese shows—shows that get as much as 30 to 50% of the viewership, which is quite remarkable—might get a cinematic-release movie sequel instead, but this happens somewhat rarely.

Rather than the comedy sitcom or the long-running crime-solving drama series, the dorama or “drama” (the word is taken from English) is the standard of live-action Japanese fictional shows. With few exceptions, a dorama begins as a 12- or 13-episode series (each episode runs an hour with commercials) with a complete story contained therein. In other words, shows won’t end on monumental cliffhangers in the hopes of getting renewed (which, in America, often leads to disappointed fans if the show isn’t renewed and questions go unanswered). They end happily, as is most often the case, or at least they end with all questions answered and the storyline satisfactorily wrapped up.

If the show is popular enough for another 12- or 13-episode sequel series or at least a 2-hour one-time sequel special episode, the story in the sequel will be new and not a continuation of unanswered plot points from the original series. That’s not to say that more “drama” won’t ensue in the dorama, as a happy ending from the original series is often turned on its head so that the sequel can be full of conflict again, but if you never saw the sequel, you ought to be left satisfied with the original ending.

Japanese dorama shows air throughout the day, but the evening shows are the most popular. Because shows generally last only 12 or 13 weeks, new seasons start four times a year and there is no “off” season for new shows like there is in America during the summer. Dorama shows are often based on original stories, but they’re also frequently based on popular novels, light novels, and manga (graphic novels).

Do you like that popular American shows keep on airing or would you rather they end before they get less interesting? Do you like the idea of having a new favorite show four times a year?