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This study examines the relations between the cultural tradition and academy, and the cultural industry in Japan, with regard to the recently popularized "Spirited Away (Missing Sen and Chiiro)" and "Onyoji." The previous researches on the cultural industry in Japan have been performed in various aspects from the critical approach to the statistical status, system, and policy of the cultural industry. Nevertheless, not much attention has been paid to the fact that the cultural tradition and academy have relevance to the prosperity of the cultural industry in Japan as one of consequential backgrounds to it. This study stems from the recognition that the approach taken on this aspect is needed to deepen the understanding of the Japanese cultural industry.
While the Japanese cultural archetype encompasses the contemporary culture, the contents of the traditional culture are much diverse and detailed. These contents are comprised of abundant materials of images and imagination and thus represent the Japanese character. One powerful subject of the popular culture nowadays is the mythological creativity. Japan is a country of myths where people worship the Emperor as a "living god" and where the popular beliefs survive relying on numerous jinja. This power of myths in Japan was once politically abused and deteriorated into the frantic totalitarianism, yet, now it is diverted and exerting powerful potentials in the cultural industry behind the scenes.
The Japanese traditional culture is full of image materials. Numerous characters appearing in the "Pocket Monster," "Spirited Away (Missing Sen and Chiiro)," and "Onyoji" were not designed provisionally but have roots in traditional images found in emaki, woodcuts, and narratives. The success of the "Spirited Away" and "Onyoji" owes not only to these affluent inheritance of traditional materials but also to the fertile ground of profound academic foundation.
In Korea and China, where the Confucian tradition has been strong, the studies of images and imagination were not fully acclaimed. To the contrary, in Japan, the study in that field has been developed earlier. For instance, the "Spirited Away (Missing Sen and Chiiro)" has deep relevance to Demonology, and "Onyoji" has close relation with Daoism.
The commercial success of the cultural industry in Japan provides us with much implication: well-preserved traditional culture, academic arrangements and assessments of it, and technical manipulation of the results. In consequence, it is academy who acts as an important intermediary in between the traditional culture and industrialization. Only when the academic appreciation is renewed in the field of humanity and also the recognition of the humanity contents is reviewed, the works of excavation, arrangement, and assessment of the materials of images and creativity will become vigorous. And on that ground the cultural industry will grow to be dynamic and fruitful.
While the Japanese cultural archetype encompasses the contemporary culture, the contents of the traditional culture are much diverse and detailed. These contents are comprised of abundant materials of images and imagination and thus represent the Japanese character. One powerful subject of the popular culture nowadays is the mythological creativity. Japan is a country of myths where people worship the Emperor as a "living god" and where the popular beliefs survive relying on numerous jinja. This power of myths in Japan was once politically abused and deteriorated into the frantic totalitarianism, yet, now it is diverted and exerting powerful potentials in the cultural industry behind the scenes.
The Japanese traditional culture is full of image materials. Numerous characters appearing in the "Pocket Monster," "Spirited Away (Missing Sen and Chiiro)," and "Onyoji" were not designed provisionally but have roots in traditional images found in emaki, woodcuts, and narratives. The success of the "Spirited Away" and "Onyoji" owes not only to these affluent inheritance of traditional materials but also to the fertile ground of profound academic foundation.
In Korea and China, where the Confucian tradition has been strong, the studies of images and imagination were not fully acclaimed. To the contrary, in Japan, the study in that field has been developed earlier. For instance, the "Spirited Away (Missing Sen and Chiiro)" has deep relevance to Demonology, and "Onyoji" has close relation with Daoism.
The commercial success of the cultural industry in Japan provides us with much implication: well-preserved traditional culture, academic arrangements and assessments of it, and technical manipulation of the results. In consequence, it is academy who acts as an important intermediary in between the traditional culture and industrialization. Only when the academic appreciation is renewed in the field of humanity and also the recognition of the humanity contents is reviewed, the works of excavation, arrangement, and assessment of the materials of images and creativity will become vigorous. And on that ground the cultural industry will grow to be dynamic and fruitful.
목차
Ⅰ. 들어가는 말
Ⅱ. 일본의 문화원형
Ⅲ. 『센과 치히로의 행방불명』과 『음양사』
Ⅳ. 신화의 나라, 일본
Ⅴ. 이미지의 제국, 일본
Ⅵ. 학문적 정리와 평가작업
Ⅶ. 맺음말
Abstract
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UCI(KEPA) : I410-ECN-0101-2009-001-015149871