View
5
Download
0
Category
Preview:
Citation preview
The Nation in Modern JapaneseAdvertising and Posters
There is a strong tendency to equatethe term “nationalism” with militarismand jingoistic patriotism (e.g., smallinsert). Nationalism can indeed, fuelmilitary passions, but it is much morecommonly at work at a more subtlelevel. In its simplest and most basic
meaning, nationalism is simply aconsciousness of membership in a
nation or national community,“Japan” in this case. In these slideswe examine some of the nationalisticimages in Japanese advertising andpublic posters. Be on the lookout for
two things: ancient symbols (orancient-looking symbols) and
symbols of modernity as it wascelebrated circa 1920 or 1930. A
basic formula by which manyJapanese defined their national
community was: [cultural traditions ofAsia] + [modernity] = Japanese
culture. We will see severalexamples of these two componentsof the formula in the pages ahead.
Main graphic:
Yamato Muslin
ad from the
Meiji era
featuring an
image of
Amaterasu, the
solar deity
whom the
imperial house
claimed as its
ancestor.
Although
during the
Tokugawa
period
Amaterasu was
often depicted
as male, from
the Meiji period
onward, she
was depicted
as female--the
mother of the
nation.
Two Meiji-Period Ads for “Courageand Loyalty Cigarettes”
These ads fit thestereotypical
image ofnationalism as
militarism. It wascommon in thelate nineteenth
century to regardsmoking tobaccoas a virile, strong,manly activity, a
perfect fit forsoldiers. In
addition to theglorious portrayal
of Japan’ssoldiers, notice
symbols in the adat left such as therising sun and the
bird of prey(sometimes lookslike an eagle, a
falcon, or ahawk)—stock
symbols of Japan.
Note: by the end of the 19th century,“loyalty” had emerged as a major self-defining characteristic of Japanese. Ofcourse, all societies tend to value thisquality, but Japanese rhetoric often
claimed it as the special province of thecitizens of Japan--along with “filial piety.”
More Cigarette Ads: Depictionsof Japan and China
At left is a poster for three brands ofMeiji-era Japanese cigarettes; at right
is a TaishÇ-era Japanese ad for“Chinese Cigarettes.”
The smokingdragon at left
clutches a NewYear’s greeting
from the good folksat Tengu
Cigarettes, whichmakes the three
brands shown topleft. Notice the birdof prey, the sprig ofpine, and Mt. Fuji,
all stock symbols ofJapan during theMeiji period and
later. The dragonwas a less commonsymbol. Notice thatthe overall effect of
the waves andsmoking dragon isto portray robustvigor--Japan asmanly (thanks tosmoking in part).
By contrast, notice the depiction of China asfeminine (including the flowers and bamboo).By TaishÇ times (post Sino-Japanese War),
such a mode of depiction was common.Compare w/ the 1920s image of a Japanese
woman, bottom right.
Images of the nation as oldand Ancient—as if it hasalways been there . . .
At left is a poster advertising a ritual celebratingthe establishment of the deity of the Imbe Shrine,including a map of how to get there by train. Atright is a festival of dyed fabrics, featuring womenin Heian-era attire and makeup. Notice that theseancient aspects of Japan are marked asfeminine; modern aspects tended to be markedas masculine.
Notice thecircular
backgroundof the
image atthe right.
What doesit suggest?
The nation imagined as simultaneouslyancient and modern . . .
At right is a1927 poster
celebrating theopening of asubway line
between Uenoand Asakusa in
Tokyo: “theonly subway in
the Orient”according to
the white text. Itis a classicportrayal ofJapan as
modern, and itis precisely thischaracteristic
that manyJapanese of
the timeimagined
distinguishedtheir nation
from those ofthe rest of Asia.
This allegeddifference also
served as ajustification for
militaryconquest andcolonization.
The poster at left announces a 1928memorial service in Kyoto for thedeceased TaishÇ Emperor. It is
remarkable in its mixing of ancient andmodern imagery. The raven in the sunand the medicine-pounding hare in the
moon are as ancient as it gets (fromChina), and they share the space with
aircraft and high-rise buildings.
Progress, Improvement, Advance—Thenation marches onward to a glorious future
The poster at right announces an exhibition of thelifestyles of the “kokumin” (citizens) of FukuiPrefecture. It is from the TaishÇ period, whennationalistic rhetoric celebrated the farmer as
foundation of the nation—even as the economicsituation of small farmers declined precipitously.
The smoke-belching factory often paid better.At left is a
poster from1936, just
before full-scalewar with China
broke out. Itannounces anexhibition of“GlitteringJapan.”
Obviously theemphasis in this
poster is onmodernity:
gears,machinery,
planes, largeships—symbolsof an advancedindustrial age.
A tension between hailing farmers as thefoundation of the nation and the extremepoverty of many of these farmers was a
significant charcteristic of Japanese politicsin the 1920s and 1930s.
Progress, Advance, and Ancient Symbols
The poster from Nippon Marine Insurance at left isfrom 1921, and the “Great Exhibition of Japanese
Progress” poster at right is from 1936.
Both posters rely on birds juxtaposed against emblems ofmodernity, huge ships and aircraft. The elaborate rooster is
indeed a part of traditional Japanese culture. Differentregions of the country specialized in different varieties of
chickens, such as the Shamo of Satsuma. The large drumconjures up an image of local quasi-religious festivals.
Colonies:Korea and Manchuria
Japan annexed Korea in 1910 (occupied it in 1905). Manchuria was a de facto colony of Japan from 1931.
The poster at leftis from 1930. It is
all in Japaneseand announces
discounts forsightseeing travel
to what inJapanese would
be calledKingÇsan, a placein which Japanesecould examine theexotic traditionalculture of Korea
on their ownterms. One
sponsor is theRailroad Office of
the GovernorGeneral of Korea.
Here, thecolonized Korea ismarked as a place
of “tradition” butnot modernity.The
feminineemphasis is alsoforegrounded. Images of the
colonies served asfoils against which
Japanese coulddefine their
national identity.
By contrast, Manchuria was a placecharacterized by heavy industry, and
Japan’s government encouraged its citizensto settle there in the 1930s. You could get agreat job there, like this happy-looking man
working in the Fushan Coal Mine.
Recommended