Packaging Other Cultures : Japanese TV Production and Ethnography (<Special Theme>Mass media, Anthropology and Representation of Other Cultures)

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  • 異文化のパッケージ化 : テレビ番組と民族誌の比較をとおして(<特集>マスメディア・人類学・異文化表象)
  • 異文化のパッケージ化--テレビ番組と民族誌の比較をとおして
  • イブンカ ノ パッケージカ テレビ バングミ ト ミンゾクシ ノ ヒカク オ トオシテ

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Abstract

<p>Two decades have passed since anthropologists began to recognize and discuss a crisis in the representation of cultural others. Despite its significance, the focus of this text-critical debate has been on completed work, while little has been said about the production processes of these representations, whether they be visual or literal, aesthetic or scientific. If we investigate, more consciously, the conflicts and compromises between authors/artists and the social limitations imposed on them, more practical guidance can be expected for anthropologists as the authors of ethnographies in particular contexts. In this paper, I focus on a Japanese TV documentary program that was made in an area where I still continue fieldwork intermittently, and whose producers contacted me before going to the location. My aim is to clarify the production process in the present situation of Japanese mass media targeting the general public. I also examine the general relationship between Japanese media and the audience, and confirm the basic principles for anthropology in the media-saturated society of Japan. The program in question focused on life in a fishing village in Madagascar, and reported unconfirmed information that was in fact false, according to the author's research. This information was developed into a major storyline, magnifying a false position: the subjects' spoken words were translated into Japanese subtitles which were not in accord with what was actually said. For example, a Christian hymn was converted into a song in praise of abundant sea fruit. Other subtitles, referring to the abundance of the sea, or to the significance of family bonds, did not correspond to the actual simultaneous speech, which mentioned neither abundance nor family bonds. These mistranslations, seemingly harmless in themselves, served to lead the audience to the producers' opinion, which was clearly expressed in the following narration; Changes arrive, just like winds, on the coast of Madagascar as equally as elsewhere. Many villagers gave up fishing and began to live in the towns. The number of those who travel from island to island to follow schools of fish is getting smaller and smaller. [Despite the trends,] Mr.Z (pseudonym) and his brothers and sisters chose to gather together as one family, hoping to be together always if possible. To be with the sea and breeze, to pray and talk with spirits - such simple living was the very thing that Mr.Z and his family believed would unify them. The narration thus insisted that Mr.Z's attachment to the sea and his family had made him choose to be a fisherman against the social currents. However, fishermen have not actually decreased in number in this area; indeed, I have witnessed a remarkable increase in the number of young fishermen. In addition, the number of seasonal migrants to the islands has increased because the migrants can get a large quantity of shark fins and sea cucumbers around the uninhabited islands there for Chinese buyers. I cannot avoid concluding that Mr.Z was just following an ordinary life course, and not going against the current. Two major factors led to improprieties in the reporting. One was logistical: the limited funding and time alloted for collecting materials and background information. The TV camera crews in question went to Madagascar to scout locations only four months before going on-air, spending 16 days to find them, about three weeks in staff meetings and arrangements back in Japan, and 29 days on location. Thereafter, some days were required for editing during the seven weeks before going on-air. Considering the distance from Japan to Madagascar, and the inconvenient transport from the capital airport to the filming location, the crews were cutting corners to meet the limited production period. However, production companies are obliged to reduce the location costs and production period because the</p><p>(View PDF for the rest of the abstract.)</p>

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