Digital Asia and Activism

Is the medium the message? A reflection on Japanese idol culture and the cult of celebrity.

In Rio Katayama’s essay, “Japanese Idols, Celebrities and Fans During the Time of Disaster,” and Kyoko Miyake’s documentary, “Tokyo Idols,” both scholars investigate the rise of idol culture in Japan identifying its roots in post-crisis (3.11 Tohoku earthquake and tsunami) activism and top-down/bottom-up appeals to collective solidarity. In Katayama’s essay, she focuses on examining the intersection of celebrity/idol fandom and activism, identifying the cultural and societal impetus that influenced the birth of “national idol groups.” Rather than attempting to critique the gender politics of contemporary idol culture (“Tokyo Idols”), Katayama instead provides an objective examination of the relationships between idols, their fans, and the general public in her discussion surrounding affective intimacy and “ai ni ikeru aidoru (idols you can meet).” In contrast, Miyake’s “Tokyo Idols” alludes to a more insidious evaluation of Japanese idol culture providing frequent commentary on an industry that is suggested to promote patriarchal fantasies of sexual purity and youth. Additionally, the film depicts Rio Hiiragi’s dreams of being an idol as bordering on obsession and introduces interesting observations on a Japanese cult of celebrity. However, is this critique of idol culture, female sexuality, and celebrity unique to Japan – to the Japanese Idol industry? Is the medium the message? While Miyake’s documentary introduces a number of fascinating aspects of Japanese idol culture, the film takes on a judgmental tone that has not gone unnoticed by critics. Amongst the documentary’s most frequent criticisms are questions surrounding the director’s editing, bias, and a noticeable lack of commentary from adult, female idol fans.

-Jonathan

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