04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 1/10

ResignificationandCulturalRe/ProductioninJapaneseTelevisionCommercials

ToddHoldenRespondToThisArticle

Volume4 Issue2 April2001

"Andthen"MarilynMonroehawkedaredcar,whileacrankysararimandebatedBillClinton,tothetuneof"AllYouNeedisLove":

Introduction

WhatdoMarilynMonroe,BusterKeaton,SalvadorDali,BillClintonandTheBeatleshaveincommon?That'ssimplethesamethingasMikaelGorbachev,SadaharuOh,CharlieChaplin,theMonaLisaandPeterRabbit.

Confused?

Well,thenitprobablywon'thelptolearnthatLadyDi,ElvisPresley,theBerlinWall,NatsumeSosekiandTheAddamsFamilyareallinthemix,aswell.

Stillstumped?

Don'tforgetErnestHemingwayandScottiePippin.

Brainfrappd?

AlbertEinstein.Bewitched

Uh,that'sa1970sAmericansitcomnotyourpresentstateofmind.

Allsharingtimewithmermaids,cowboys,ClarkKent,Batmanandthosemythicalriverimpscalled"kappa".

Thelistisvirtuallyendless.Buttheanswertotheriddleisquitesimple:theyallmadeappearancesinJapanesetelevisioncommercialsin1999.1

Ofcourse,theseactors,actresses,writers,politicians,athletes,televisionandcartooncharacters,paintings,andworldevents,weren'tallconjuredtostandbythemselves.MostoftentheywerejuxtaposedwithJapaneseactors,insertedintoJapanesesettings,orbroughtintocontactwithproductsforsale.Inalargenumberofcasestheywerenotonlyintermingled,butmutated.Most

http://journal.media-culture.org.au/journal/respond.php

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 2/10

importantly,though,theappropriation,alterationandblendinggenerallyhadlesstodowithcommercialthanculturalcommunication.For,inJapan,whereadvertisingasagenreisincreasinglycharacterizedbydiminishingattentiontoproduct,2adsnowtendtoadopttheroleofculturalhistorianasmuchasthatofcommodityhawkertheymorefrequentlynowserveassocialcommentatorratherthansimplypopularentertainer.Andtheinsertionofsuchexoculturalelementsintoadtextassiststheperformanceofthesenewagefunctions.

Indeed,theendlessstreamofGreekmyths,Hollywoodmovies,historicalevents,popularsongs,scientists,athletesandnovelistsnowembeddedinaudiovisualspaceconstitutesaphenomenon.Suchcontentispartandparcelofanongoingprocessofculturalenfoldinginwhichelementsfrombeyondthespatial,temporaland/orideationalboundsofcontemporaryJapanareloadedinto15secondcommercialcommunicationforimmediate,localconsumption.Itismycontentionthatthismodeofdiscourseamountstoastrategyforinterpretingcontemporaryexperience.Importantly,itisneitherapassivenorbenignform.Asthispaperseekstoshow,suchculturalenfoldinghasimportantconsequencesandfarreachingimplicationsforJapanesesociety.

TheintentionalinterminglingofpreviouslyunrelatedsymboliccontentfromalienspatiotemporalcontextsisacommunicationactIcall"resignification".

ResignificationExplained

Asitsnameimplies,resignificationisasemioticprocessmeaningthatitinvolvesthecreationofmeaningfromsigns.However,resignificationisaparticularkindofsemiosis:onewherenewsignelements(signifiers,signifieds,signs,significations)areliftedfromtheiroriginalcontextsandinsertedintoothersemioticsequences,thoughnotalways(indeedseldom)inthepositiontheyoccupiedintheirpriorincarnation.

Twoaspectsaremostsalientaboutresignification:first,strungtogetherinunrelentingsequence,suchrecyclingamountstoaphenomenonofsociologicalimport.Mostespecially,because,procedurally,resignificationbothreflectsandassistsculturalmutation.

Restated,therepeatedinsertionintoadtextofexospatial,exotemporalculturalimagesandideasissopervasiveinJapantodaythatitmustqualifyasamajormodeofcommunicationawayinwhichoneofthemajorinstitutionsincontemporaryJapanesesociety(advertising)choosestointerpretandprocesshumanexperience.Further,becausetwokindsofcasescanbefoundthoseinwhichresignificationseekstoreflectprevailingsocialreality,andthoseinwhichitappearstoredefineitwecanhereaverthatresignificationissociallyre/productive.

Inotherwork,3IhavedetailedthetechnicaldimensionsofresignificationthesevenwaysinductivetreatmentofJapaneseadshassuggestedthatresignificationiseffected.InthespacethatremainshereIwouldliketofocusonexposition:introducinganumberofexamplesofresignificationinJapaneseadvertisingtoday.FromthatempiricalbaseIwilldrawsomeinferencesaboutthenatureofJapanesesociety,thenclosebyspeculatingaboutthepossibleculturalconsequencesofthisphenomenon.

EvidenceofResignification:10RecentExamples

1. AnadforanicysprayfeaturesLeslieNielson,starofthe"NakedGun"filmseries.Herethough,Nielsonplaysamarshalinthewildwest,ratherthanamodernday,bigcitydetective.Nonetheless,Nielsonimportshiscinematicpersonaasabumbling,dimwitteddefenderofjusticeintothead.Hissheriffisaburlesque,sexistandsociallyinappropriatehero.Thus,asthreevillainsseektobaithimbyrestraininganattractivebarmaid,Neilsoncalmlystrollsoverandshootsthecoolsprayintothehelplesswoman'scleavage.Predictable

http://journal.media-culture.org.au/0104/jtv-panel1.html

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 3/10

forthisgenre,thedamseloffersupanorgasmiccooofpleasure.

2. Apert,blondhairedwomancoiffedandclothedinthestyleofanAmericanhomemaker,circa1970,standsinthedrivewayoutsidehersprawlingsuburbanhome.AllatonceshedropsintoacrouchandextendsherarmstowardherHondacompact.Jetsofpixiedustemanatefromherfingertips.Cuttoacloseupofherbehindthewheel.Shewiggleshernoseandwrigglesherearsandsuddenlybabiesinstrollersandspotteddogsbegintotalk.Forthepopculturallyliterate,thesearereferencestoproductsfromHollywood'srecentpast:television's"Bewitched",cinema's"LookWhoTalking","LookWho'sTalking,Too"and"101Dalmatians".

3. Amustachioedmancladinearlytwentiethcenturyattirestrikesathoughtfulpose.Cutfromthetableuponwhichhiselbowreststoanexterior,whereheisnowcontemplatingaluxurycar.AlinedpaperwiththeJapanesescript"sorekare"("andthen")flashesonthescreen.Atthisjunctureinasecondversionacatscampersbeneaththecarandthemanstoopstocoaxitout.Bothpaperandcatarereferencessignifiersfromdeepculturaltextemployedtoassistadreadersindecodingtheman'sidentity.HeisSosekiNatsume,arguablyJapan'smostesteemednovelist.Weknowthisnotonlyfromtheopeningposewhichcomesfromafamousphotographbutalsofromthecues"AndThen"and"IamaCat",twoofhispublishedtitles.

4. Amidtwenties,shaggyhaired,waiflikemanslurpsinstantramenalongside:(a)formerSovietPresidentMikhailGorbachevashedelivershis1985"perestroika"speechtothePolitburo(b)homerunkingSadaharuOh,asheswatshisworldrecordbreaking756thhomerunand(c)agroupofrevelersatoptheBerlinWallduringitsfestivedestruction.InthemostrecentversionthroughthewondersofroboticsandtapewizardrytheyoungmanexchangeshiscupofbrothforElvisPresley'sguitar.LikeWoodyAllen'sZelig,orWinstonGroom's"ForrestGump",thisCupNoodlescampaignamendshistorybyinsertingafictionalprotagonistintoactualevents.

5. Topromoteitssystemofintegratedphotocopying,Canonemphasizestheabilitytoprintrealistic,highqualitycomputergeneratedandFaxtransmittedimages.AsprooftheyofferamediumtightshotofaJapanesemodelwithbareshouldersandunadornedhair.Abackgroundisetchedin,followedbyaquickflashoflight.SuddenlythemodelistransformedintothelikenessoftheMonaLisa.Cutbacktotheoriginal,bareshoulderedshot,againaflashoflight,andthewomanistransformedintoafamousJapaneseportrait.Finally,asthecommercialcomestoaclose,themodelisshownonglossypaper,unspoolingfromthecopier.SheisreclininginacostumeandposeidenticaltothatinGoya's"TheMajaClothed".

6. Thecarnamed"Rosso"("red"inItalian,"aka"inJapanese)andthemodel,UmemiyaAnna,aredisplayedwiththeanchoredscript:"AnnaAkaRosso".Annaistintedredfromheadtotoe.Red,ofcourse,beingtheuniversalsignifierforpassionanddesire.4Notatrivialpoint,asthesightoftheredAnnaisenoughtocausethebloodofamaleonlookertoboil.SteamgushesfromhisearsageyserwhichprovesofsufficientforcetopropelAnna'sskirtskyward.Duringthecourseofthewindyinterlude,Annastrugglestorestrainthehemofherrisinggarment.Thesituation,aswellashergesture,isanunmistakableimitationofMarilynMonroe'sturnonthesubwaygratein"TheSevenYearItch".5

7. Inanadforhairreplacement,amanisassaultedbygaleforcewinds.Heendsupbeingblowndownthedustystreetonhisback,tossedlikearagdolluntilhemanagestolatchontoatree.Clearly,thesituationhelpsconveythatthiscompany'sproductworks,butwhyisitanexemplarofresignification?Closescrutinyofthesecomparativephotossuggeststhattheimagesfromthead(lowerright)arepainstakingreproductionsofasequencefromaBusterKeatonmovie(upperleft).Thesearenotmerelyimagesinspiredby,norevenmodeledafteranearlierculturalproduct(asintheAnnaMonroecaseabove)theseareframeforframereproductionswithaJapaneseactorstandinginforKeaton.

8. In1998,afteryearsoftrying,Japan'snationalsoccerteamfinallyqualifiedfortheWorldCup.Thegoalthatbookedtheirpassagewasdramaticallystruckinovertimebyasubstituteplayer.Okano,thescruffy,shaggyhairedstriker,becameanationalhero,histriumphantmomentreplayedendlesslyonJapanesetelevisionandrehashedinthepress.Shortlythereafter,Acom,amoneylendinginstitution,appropriatedthefinalsequencethelunginggoalie,thereboundtricklingoffhishands,theslidingstriker,Okano'sdisbelievingruntowardhisfrenziedteammatesasthenextinstallmentinitslongrunningadcampaign.BecauseAcom'sserieswassetinouterspace,theWorldCupwasrefashionedasaqualifierforthe"GalaxyCup",andthestrikerwasagreenalien(ratherthanaJapanesehippy).However,

http://journal.media-culture.org.au/0104/jtv-panel5.htmlhttp://journal.media-culture.org.au/0104/jtv-panel8.htmlhttp://journal.media-culture.org.au/0104/jtv-panel2.htmlhttp://journal.media-culture.org.au/0104/jtv-panel6.htmlhttp://journal.media-culture.org.au/0104/jtv-panel4.htmlhttp://journal.media-culture.org.au/0104/jtv-panel7.htmlhttp://journal.media-culture.org.au/0104/jtv-panel3.html

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 4/10

justaswiththeKeatonad,ineveryotherparticularthekeyimageswerepainstakinglyreproduced,theninscribedwithnewsignificatoryvaluewhensetintothenewideationalcontext.

9. AfleetofVWsrollsontoadock.ThecamerapansskywardwheretheAmericanspaceshuttleidles.Insidemissioncontrolatelevisionistunedtoapubliccelebration.ThecamerazoomsinonthescreenintimetocapturearedGolfpullingtoahaltoutsidethegatesofanenormouscathedral.Walkingdownthelongredcarpettowardthecarareabrideandgroom.Cuttoacloseupofthecouple:PrincessDianaholdingabouquet,grinningbroadly,onthearmofPrinceCharlesinformalmilitarydress.TheVWstopsinfrontofthepairandtheyappeartogetin.Thecardartsoff,zigzaggingaroundalineofprotestors.Cuttoachaoticscene,soonrecognizableasthefrenzieddestructionoftheBerlinWall.6Asasectionofthewallisyankedfromitsmoorings,agroupoffastmovingrevelersstreamforwardtocommandthepreviouslyblockadedsquare.TheredGolfzipsinfrontofthecelebrantsandquicklyenterswhatwasformerlyEastGermany.Cuttowrittentext(inJapanese),situatedabovethe"VWGolf"logo."Therevolutionisnotover"itintones.

10. 3salarymensitinasmokybarafteralongdayofwork.Oneman,wipinghishandsandfacewithamoisttowelette,rants:'Allthistalkaboutglobalization,etceterabutJapanismadeafoolofbytheworldOnceandforallwehavetospeakoutgatsun.'7

Hepusheshisglassesatophishead.'Ifitwereme,Iwouldsayit!'Hewipeshisfacevigorouslywiththetowelette.'I'dsayit,gatsun.'Superimposedoverhisimageishispersonaldatainwhiteletters:'ItohMasayuki,37years,corporateman.'Theframefadestoblackandwhite,freezes.ActionresumeswithItohthrowinghistoweldownindisgustanddeclaring:'BecauseI'mthattype!

Cuttoanextremecloseupofthetowelettenowlyingonsomeone'sknee.Asthecamerapansback,wefindthekneebelongstoBillClintonor,atleast,anactorofamazinglikeness.HeisseatedoppositeItohsaninaroomthatlooksverymuchliketheOvalOffice.Surroundingthetwoaretranslators,advisorsandsecretserviceagents.ThepresidentiallookalikeflicksthetoweloffhislegwithdisdainandsaysinClinton'sdistinctivedrawl:"So!I'dliketohearyourhonestopinions''TotheswellofmariachimusicItohgulpshard,staresvacantlyatthePresident,andtriestomusterthatsuddenlyelusive"gatsun".

Analysis:MakingSenseofthePellmellMix

AsconceivedbyBarthes8theprojectofsemiologywastoobservesignswithinthesocialsettingand,byfittingtheminto"chainsofsignification",revealtheunderlyingnatureofsociety.Signification,though,isonlythefinalstepinalongprocession,andalongthewayitisrelativelyeasyfortheanalysttobecomewaylaidbythearcanaofsignswhichcolorisasignifier,whichpastmoviesceneasignified,whichcompendiumofeventsasignification.Itischallengingandofttimesfun,butinordinateattentiontothesemechanicsthreatenstoderailthelargerobjective:understandingadvertisinginculturalcontextseeingresignificationasaprocessthathasmeaningsandimplicationsinthelargersocialworld.

Attentiontothislatteraimleadsusintwodistinctdirections.Thefirstisdenotative:thesurfacemeaningofresignification.Heretheconcerniswiththeplaceorfunctionofthephenomenonwithinsociety,aswellasitsusesandtangibleimpacts.Thesecondthreadisconnotative:centeringonthedeeper,significatorymeaningofresignification.Therepetitiousappropriationofculturaltextfromotherspaces,times,ideationalsystemsandmediaanditsrobustinclusioninthefocal,contemporary(inthiscase,Japanese)televisioncontext,hasmuchtotellusaboutthedevelopmentofsociety.

Denotation:ResignificationasSocioCulturalPhenomenon

http://journal.media-culture.org.au/0104/jtv-panel10.htmlhttp://journal.media-culture.org.au/0104/jtv-panel9.html

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 5/10

Barthesmodelofsignificationistwotiered.Itholdsthatthefirstsignservesasthebasisforasignificationrelativetothatsign,butthatitalsoservesasthefirstcomponentinasecond,moredeeplyensconcedsignsequence.Inthiswayanad/signtellstheanalystnotonlyaboutthedatumimmediatelyinfrontofher,butalsoabouttheexistenceofadeeper,societalwideprocess.Thisprocess,Inturn,eitheraccountsfor(i.e.re/produces)orelseisgivenimpetusto(i.e.isre/produced)bythead/sign/significationbeingobserved.Byjoiningtheresultingsignificationsofthissecondchainwithnumeroussignificationsofsimilarilk,theontologyofthelargersocietyfromwhichthesignoriginatescancomeintofocus.Inaword,thesecondordersignhelpselucidatesociety.

Inthisway,wecanseethatreferencesinJapaneseadstoHollywoodmovies,Japanesecartooncharacters,Greekmyths,sports'stars(American,Europeanand,increasingly,Japanese),popularsongs,andtelevisionandstagescenarios,arenotsimplysingular,isolatedinstancesofculturalreference.Theyaremorethansimpleevidenceofculturalreproduction.For,whenjoined,theyserveasacommentonthenatureofcontemporaryJapanesesociety:asocietyofpellmellcombination,ofpromiscuous,incessantmix.

Butwhat,specifically,doreferencestoSamanthaStevensofAmericanTV's"Bewitched",PrincessDiana'sweddingtoPrinceCharles,theBeatle's"AbbeyRoad",thefalloftheBerlinWall,andagesturebyMarilynMonroe,(etcetera,etcetera,etcetera)tellus?

Standingbackandlookingatthesesignsasarelatedsetofsignifications,ittellsus,mostobviously,abouttheimportofforeigncontentinJapaneseads.Asobviousasthismaybe,itisnotatrivialobservation.InothercountriesforinstanceMalaysiaandtheUnitedStatesforeigncontentinadscanbedecidedlyscant.9Bothofthesecountriesarequiteinsularintheircommercialworldviews.Theirmediationsareaimedatreproducingindigenousculture.Byextension,andconsequently,thewarehouseofexogenousimagesandideascanbequiteempty.ContrastthiswithJapan'sadworld:thepeople,placesandpracticesfromoutsidecontemporaryJapanareincrediblyrichandwideranging.Certainly,thisworldisfullerwhencomparedtoitsowncommunicationenvironmentfromonlyafewyearsbackbackwhenJapanwasaphysicallyisolated,ideationallyexclusionarycountry.

Suchsignificationsdomorethanmerelymix,though.Theyinformviewersthathistoryselectivethoughitmaybeisimportantthatelitesandhighachieversstarsoffilm,television,recording

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 6/10

studio,courtandturf,andpoliticalofficeareimportantthatmedia,itself,isimportant.TherecurrentappearanceofresignifiedsignstellsJapanesethattheirsisasocietyinlargepartattunedtoanddrivenbymediaanditsmanyproducts.

Underconditionsofresignification,Japaneseadsalsotellrecipientsoftheimportanceofindigenousmyths,ofpastculturalpracticesandbeliefs.Thus,kappamakeperiodicappearances,asdokimono,enka,sumo,geisha,theEdoera,samurai,andastrictorderingbasedonmanners,age,andgender.

Atthesametime,culturalproductsfromthewestarejustaspervasiveandsalient:aboveallmovies,televisionprograms,andpopmusicfromthe'60sand'70s.10Increasingly,adsintroduce"alien"ideaspracticesandbeliefsonceperceivedasantitheticaltothecontext.Forinstance,currentadsdepictsuchantipodalactsas:

ayoungwomanspreadingherarmswideonajettyandscreamingtotheoceaninEnglish:"IwishIwereabird"afatherdotingonhisfamilywiththesuperscriptbeseeching:"findtimeforthefamily"collegekidshangingoutinaninternetcafewiththeadvisory:"maketimeforyourself"popularstarsdrivingthebackroadsofAmericatellingoneanother"thetruthisoutthere"anendlessparadeofkisses,clutchesandfondlesbetweenaggressiveyoungheterosexualcouples.

Forasocietythatwasinsularforhundredsofyearsandstillretainsaconsiderableisolationistmentalityduetolanguage,geography,psychology,rituals,beliefsandpoliticalhistorythenewmixofexoculturalcontentwitheverydayJapaneselifeisfarfromatrivialdevelopment.

FirstOrderConnotation:SemioticLiteracyandtheAdAudience

Evenmoreimportantthancontent,though,iswhatthatcontentcommunicatesabouttheaudience:abouttheirintellectualcapacity,theirlikes,interestsandpractices.For,thisconstantemphasisonresignificationunderscoresapresumptionaboutaudiencecompetence.Adschockfullofexogenoussignsdemandafairlyhighlevelofsemioticliteracy.Withoutthatliteracy,thesignifierswouldbeundecodablethesignifiedsformedwouldstrayfarfromadvertiserintention.And,ifthatwerethecase,theadswouldamounttonothingmorethanglossyinjokesincrediblyexpensiveproductionswhich,savefortheirpossibleentertainmentvalue,wouldstandashollowenterpriseswhoseprimarymeaningswouldbelostontheirrecipients.11

Butforaudiencememberswithabaselinelevelofsemioticliteracy,whoarealsoreading(i.e.activelyprocessing)advertisingtext,theproximateeffectofresignificationistoaddtowhatBergerandLuckmannhavecalledsocietalmembers'"stockofknowledge".12TheconsequenceofthepellmellexplosionofsignswithinJapan'ssimulation/stripuniverseisthattheviewer'ssymbolicuniverse13hasexpandedbeyondmeasure.SuddenlyGreekgods,Hollywoodicons,currentJapanesesingers,internationalsportsstars,foreignpoliticiansandkeyhistoricaleventsarewovenintoasingularideationalcloth.Thesesignsareoftenmixedandmatchedeitherwithinindividualadsorincontiguouscontext.Forinstance,inthecaseofintraadmelding,renownedJapanese

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 7/10

cinematictoughguy,TakakuraKenliesonatatamimatdressedinJapaneseyutaka,thedroneofastreetmatsurioutsidehiswindow.HeguzzlesKirinbeertothebackingofthethemefrom"AChorusLine".Inthecaseofinteradmixing,Ken'sadmaybefollowedbyoneforinstantnoodlesinwhichthefamousthoughancientandbynowquiteobscureJapanesemyth"Sayuuki"isrefashionedforacontemporaryaudience.

Thesignificanceofresignification,then,isthis:theadvertisingpublicisbroughtintocontinualencounterwithsignsthathavebeenliftedoutofonespatio/temporal/ideationalcontextand/orappropriatedfromothermediaforms.Theconstantcommunicationofthiscontenthastheabilitytostimulateusers,possessiveofahighlevelofsemioticliteracy,to"see"theirideationaluniverseinanarrayofdiffering,butspecifiable,ways.Aboveall,adreadersareproddedtoperceivetheirworldasmoreglobal,transhistorical,synthetic,polyideational,andmulticultural.This,byvirtueofthefactthataconsiderablenumberofthesignstheviewernowencountersemanatefromspaces,epochsandmediaformsbeyondthelocal/presentmediation.Inessence,undertherepetitivepulseofadvertising,strongpressuresareexertedonJapaneseadreaderstodevelopamoreextensiveworldliterature.Theresultisanaccruinglibrary,chockfullof(generallypopular)cultural,exocontextualtext.14

Conclusion:ResignificationandMediaCulture

Ihavereservedsecondorderconnotationthequestionofsocietalontologyfortheclose.Japan'scurrentconfigurationcouldbecalled"MediaCulture"a"totalenvironment"inwhichanenormousportionofthesociocultural,politicaleconomic,historicomythiccontentundergirdingsocietycirculatesthroughmedia.15Throughaconfluenceofmediaforms,suchideationalcontentservestoframe,inform,prod,guideeveninfluencehumanorganizationandbehavior.

InMediaCulture,advertisingis,atonce,agreatcommunicatorofculturalcontent,aswellasoneofthegreatestconsolidatorsofthesectorsitscontentrefersto.Withitsenergy,sheerspeed,licentiousblendingofformsandcollisionofideas,advertisingcompelssectoralunionforinstance,theeconomicwiththecultural,theculturalwiththepolitical,theeconomicwiththepolitical.Thismaynotalwaysleadtofelicitousresults.

Thus,forinstance,intheBillClintonad,describedearlier,thelinebetweenpolityandeconomybecomeseasilyblurred.Thereisaproductforsale,buttheadtextdownplaysthedrinkand,instead,highlightsthedebatebetweenatypicalsararimanandanAmericanpresident.Puttingasidethequestionofwhetherameetingbetweenthoseofdifferinglinguistic,occupational,statusandnationalrankscouldbepossible,16theadvertisementsetupcommercializeddiscourseundertheauspicesofthepolitical.

Similarly,considerthefollowingadfortheorangedrink,Nachan.Inthisofferingtheadaudiencewatchesatwentysomethingwomansuppingthebeverageforsaleasshewatchesatelevisiondramabroadcastinherfloating(i.e.simulation/strip)world.Herdrama,alsocalledNachan,featuresaheroinestrikinglysimilartothestarofanactualtelevisiondramatherenownedstoryonNHKcalledNonchan.Intherealworldserial,NonchanisacourageouswomanlivinginposbellumJapanwhomustgooutintotheworldofwork,provideforherfamilyandkeeptheirfrayingunityintact.Theprotagonistinthefloatingworldscene(whoalsohappenstobeknowninreallifeasNachan!)staresraptlyatherTVscreenastheNachanonTVtakesastrongmoralstandinfrontofherfamilyandcoworkers.Tothesaccharineswellofviolinssignalingtheendoftoday'sinstallment,thead'sprotagonist(Nachan)utters:"howstrongthatNachanis!"Shepunctuateshercommentarybyquicklyquaffinghercanneddrink(Nachan).Thecommercialclosesbypanningbackfromherapartmentwindow.Fromavantagepointacrossthestreettheadaudiencespiesintotheyoungwoman'sspare,televisioncenteredexistence.

Atonelevelitmayalljustbeapleasureathrill,ajoke,ateaseforthememoryassomepopularculturestudieshavecharacterized"thepopular".17Atanotherlevel,though,byassistinginthedevelopmentofsimulation/stripsthatplayonpreexistingculturalthemes,yetalsoworktocombineandconsolidateourperceptionandexperienceofactualsocietalsectors,resignificationservesasapowerfulre/productiveforce.Initslicentiousblendingofthecultural,economic,themoralandsocial,resignificationtrivializesevendebasesthevaluesattheheartofatleastone(ifnotall)oftheengagedsectors.Theoriginalculturaltext(forinstance,U.S./JapanrelationsorNonchan)iscooptedandrenderedmoreobscurebythecommercialtext(crankysarariman,nobleNachan).Butevenmoreegregiously,"reality"isrefashionedinaformthatmakescurrentexistence(therealworldsalariedworker'sgruelingexistencethespare,mediacenteredexistenceofNachan'sfan)seemmorepalatable.

ThisiscertainlythecaseintheClintonad.Thesararimansuddenlygetshissay,hischanceto

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 8/10

ceasebeingamereeconomicdrone.AsfortheNachanoffering,itismorethecasethatwrappingthe"realfiction"withinthe"fictitiousfiction"possessesthepotentialof:(a)reifyingthevirtuousheroineoftheformeraswellasallshesignifies(i.e.hertravail,theoriginalproduction'snationalistmessage)orelse(b)devaluingwomen'sstruggle(whichwasamajormessageofNonchan)byassociatingitwiththeproductforsale.

Whateverthecase,examplesofsectoralabsorptioninadvertisingareextensiveunderconditionsofMediaCulture.And,asthefollowingpanelimplies,oftensuchabsorptionistheresultofresignification.

Thebrilliantprovacateur,Baudrillard,onceaverred:"todayweareexperiencingtheabsorptionofallvirtualmodesofcommunicationintothatofadvertising".18However,inwitnessingtheextensiveuseofculturalenfoldinginJapaneseadvertising,onemightfairlybegintowonderwhetherwearen'tontheroadtowardtheabsorptionofadvertisingintothecommunicationmodeofresignification.

Notes1.SprinkledthroughoutthetextisvisualdocumentationofwhatIamcalling"resignification".Fromliterallyhundredsofimages,soundsandsituationsemployingexoculturalsignifiers,Ihaveselectedthefollowingwhich,itishoped,providesomesenseofthecontemporaryresignificationrichmilieuinJapanesetelevision.Theseinclude:

Panel1(lefttoright):SalvadoreDalisThePersistenceofMemoryinanadforNTTDataMikaelGorbachevannouncinghisPerestroikapolicyinaNissinCupNoodleadTheAddamsFamilydrivingthroughEdoeraJapaninanadforHondaOdyssey.

Panel2:(left):adforVictoria(Englishblacktea)(right):TheBeatlesAbbeyRoadalbumcover.

Panel3:(left):adforCanonCopiers(right):GoyasTheMajaClothed.

Panel4:(left):adforRossocars(right):MarilynMonroeinTheSevenYearItch.

Panel5(lefttoright):AmericancowboysinanadforJapanesecellphonesaJapanesemythicalrivercreature("kappa")inanadforKinchosantimosquitovaporTigerWoodsfrontingNiagaraFallsinanadforcannedcoffee.

Panel6(lefttoright):JapanRailwaysLawsonconveniencestoresNationalHomebuilders.

Panel7(lefttoright):JapanRacingAssociation(JRA)placingtheEnglishword"Dream"atthecenterofanadwhosetextencouragesthemarginalizedinsocietytofollowtheirdesires(inthiscaseexemplifiedbybettingonponies)SuntoryWineemployingkohaku(thedecadeslong,immenselypopular,NewYearsEvesongfestthatpitsstarstudded"white"versus"red"teams)asamotifforsellingtheirlineofwines(andintroducingafamoustransvestitefortheroleofros)NissanMotorsnamingacar"Liberty",thencraftinganadthatdemonstrateshowthevehiclecan

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 9/10

freemenandwomentobetterconducttheirdaily(albeit,gendered)chores.

2.Atrend(orstage)Icall"productleastadvertising".Owingtothefactthatthis"culturalframe"consistentlycircumventsnarrativeandideationalunityIhave(howeverreluctantly)labeledthisstage"postmodern".OnculturalframesseeW.S.Leiss,et.al.,SocialCommunicationinAdvertising:Persons,ProductsandImagesofWellbeing,NewYork:Routledge,(1990).ForadetailedanalysisofthepostmodernstageinJapaneseadvertising,seeT.J.M.Holden,"ReadingMalaysianandJapaneseTelevisionCommercials:postmodernism,semioticliteracyandpoliticaleconomicdevelopment",inProceedingsoftheInternationalConferenceonJapaneseStudies:JapanSoutheastAsiaRelations,Singapore:NationalUniversityofSingapore(2000).

3.ForthosewithMicrosoftExplorer,thePowerpointpresentationdetailingthetheoryandtechnicsofresignificationcanbeviewedonmyhomepage,http://www.langc.tohoku.ac.jp/~holden/Presentations/Presentationstop.htm.

4.Regardingredassignifier,seeG.BranstonandR.Stafford,TheMediaStudentsBook,London:Routledge,(1996):p.7.Asforitsextensiveuseinadvertising,seemyworkoncoloruniversals("TheColorofMeaning:TheSignificanceofBlackandWhiteinTelevisioncommercials,"InterdisciplinaryInformationSciences,Vol.3,No.2(1997):125146)andculturespecificcolorconventions("TheColorofDifference:CritiquingCulturalConvergenceviaTelevisionAdvertising,"InterdisciplinaryInformationSciences,Vol.5,No.1(1999):1536).

5.AnnasdemurdipofthekneesandonehandedrepulseofthecurrentisnotidenticaltoMonroes.So,too,AnnastightredministandsinstarkcontrasttoMonroesflowingwhitegown.Assignifiers,then,theclothesandposesdiffer.This,though,isonlyindegreeandnotenoughtoexpungeoneofthesignifiedsthattheJapaneseadconjures.Certainly,though,MonroesactcarriesdifferentmeaningthanAnnas:theformer'sbeingvolitional,thelatter'sunwittingand,inmanyways,victimofthemalessexistgaze.Despitethedifferences,though,onebyproductofAnnasstruggleisthesignified:"Monroeonsubwaygrate".

6.AsasigntheBerlinWallanditsfallarequitepopularinadvertising.Besidesthetwoadsmentionedinthispaper,athirdlastyear,forSonyWega(television),producedinEngland,alsofeaturesashotoftheWallfallingalongwithimagesofPresidentKennedyinDallasjustpriortohisassassination,theAmericanmoonwalk,theWorldCupandNelsonMandeladeliveringaspeechasPresidentofSouthAfrica.Asanaside,theappearanceofsuchexoculturaltextinaBritishadprovidescredencetotheideathatresignificationisnotmerelyaphenomenonpresentinJapaneseadvertising,butisalsoextantinadsinotherculturalcontexts.

7."Gatsun"isthewordJapaneseusetodescribethesoundmadebyamalletstrikingatree.Itisappliedtosituationsinvolvingaforcefulimpact.

8.Barthes,R.Mythologies,(A.Lavers,trans.),NewYork:TheNoondayPress,(1972[1957]).

9.ForasustaineddemonstrationofthispointanditsimplicationsforthemaintenanceofpoliticalpowerinMalaysiaseeT.Holden,"TheMalaysianDilemma:Advertising'sCatalyticandCataclysmicRoleinSocialDevelopment,"Media,CultureandSociety(2001).

10.Amongthemanywesternsongsbackingadsin19992000were:TheBeatle's"AllYouNeedisLove","GivePeaceaChance"and"Obladioblada"Yes'"OwnerofaLonelyHeart"thePlatter's"OnlyYou"TheCarpenters"WeveOnlyJustBegun"andQueens"BohemianRhapsody".Thelistisaslongasitiseveraccreting.

Moresignificantisthequestionwhy.OnesubscribingtoMannheimssociologyofknowledgewouldalmostcertainlyassertthatthisconfluenceisattributabletotheagecohortcraftingcommercialcommunicationtoday.Asa"generation"theiruniformuseofmusicalsignsfromthe1960sand70sstandsasapowerfulpotentialinfluenceoverculturalre/production,theculturalknowledgethatwilllingerinsociety,andthedemandsforresponsethatwillchallengefuturegenerations.OnthispointseeK.Mannheim,IdeologyandUtopia:anintroductiontothesociologyofknowledge,(L.WirthandE.Shils,trans.),NewYork:Harcourt,BraceJovanovich(1936).

11.Thereis,though,somethingtothe"adsasentertainments"argument.I,myself,havearguedthatthisisoneofthecentralfeaturesincontemporaryJapaneseadvertisingafeaturethathelpsseparatethemfromtheirwesternbrethren.Entertainment(asthemajorobjectiveofthead)isoneofsevenelementsthatconstitutesthe"postmodernapproach"toads.Foradetaileddiscussionofthisandthefourstagesprecedingthisstageofadvertisingcommunication,seemy"ReadingMalaysianandJapaneseTelevisionCommercials:Postmodernism,SemioticLiteracyandPoliticalEconomicDevelopment,"ibid.

04/05/2015 M/CJournal

http://journal.mediaculture.org.au/0104/japtele.php 10/10

12.P.L.BergerandT.Luckmann.TheSocialConstructionofReality:atreatiseonthesociologyofknowledge.GardenCity,NewYork:AnchorBooks,[1966].

13.Onadsas"strips"seeGoffman,GenderAdvertisements,NewYork:HarperandRow,(1976).Thisideaofcontrivedandsubstituted"reality"anticipatesBaudrillardsmoresophisticated(andmorewidelyapplied)concept,"simulation".(SeeJ.Baudrillard,SimulacraandSimulation,(S.F.Glaser,trans.),AnnArbor,MI:UniversityofMichiganPress,(1994[1981]).

14.ItisnotaccidentalthatthesewordsarereminiscentofthosepennedbyMarxandEngelsinTheCommunistManifesto.Recallthatduringtheirearlydiscussionofcapitalismsinherentlogic,theywroteofthe"batter(ing)down(of)allChineseWalls":thedemiseof"nationalandlocalonesidedness"and,initsplace,theriseofa"worldliterature".Withresignificationasamajorcommunicationmodeemployedbycontemporaryadvertising(itself,aservantofcapitalism),thisglobalizingeffectisnolesstruetodaythanitwasbackin1872(andlikelymuchmoreso).

15.MyconceptionofMediaCulturesharesmuchincommonwithKellners,thoughhiswasconstructedwithreferencetoAmericaandattendedlesstoadvertising.Atthesametime,JapansMediaCulturefeaturesgreaterintegrationbetweenmediaandamongstthesocietalsectorsthantheAmericanconditiondescribedbyKellner.JapansMediaCultureisalsocontingentontheextensiveoperationofthe"culturalindustries"inparticularpopmusic,organizedsport,televisionandadvertisingtocirculatesocietalvaluesandpractices.SeeD.Kellner,MediaCulture:culturalstudies,identityandpoliticsbetweenthemodernandthepostmodern.LondonandNewYork:Routledge(1995).

16.DuringtheperiodthatthisparticularBossspotaired,PresidentClintonhappenedtovisitJapan.Healsohappenedtoconvenea"townhall"stylemeetingwitheverydayJapanesecitizens.TheeventwassponsoredbyacommercialTVstationandinpromotingtheevent,anewsanchor(whowasscheduledtohostthemeeting)imploredJapanesecitizenstosendintheirmost"gatsun"questionsandopinionsareference,ofcourse,totheBossad.Aftertheeventwhichwasroundlyhailedasasmashingsuccesscitizensandpress,alike,cameawaysaying"ifonlyourpoliticianswerethataccessibleandstraightforward!""ifonlywehadmoresuchopportunitiestodialoguewithourleaders"NotunliketheItohscenariodepictedintheBossad.

17.See,forinstance,thisviewasarticulatedbyJ.FiskeinUnderstandingPopularCulture,LondonandNewYork:Routledge,(1989).

18.Baudrillard,ibid.,p.87.