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American Studies Seminar at Osaka University(11/22)

2015年11月22日 (日) 13:00 から 20:30

Session 1: Title: How did 1950s Hollywood films represent Japanese American soldiers on the Korean battlefield?
Session 2: Title: Another Side of American Folk Music Revival: The Kingston Trio and Authenticity in the post-WWII Period

This is a closed seminar. If you wished to participate in this seminar, please register in advance by sending email to
Yone Sugita: sugita@lang.osaka-u.ac.jp

American Studies Seminar at Osaka University

Date: 22 November 2015 (Sunday)

Venue: Seminar Room #2, Student Commons, Toyonaka Campus,

Osaka University (http://www.celas.osaka-u.ac.jp/s_c/room)

http://www.celas.osaka-u.ac.jp/files/top_data/accessmap.png (campus map: #7)

http://www.osaka-u.ac.jp/en/access/index.html#toyonaka (access map)

 

Session 1:13:00 – 14:30

Professor Miyuki Daimaruya, Project Research Fellow (Institute for Gender Studies, Ochanomizu University)

http://researchers2.ao.ocha.ac.jp/html/200000190_en.html

Title: How did 1950s Hollywood films represent Japanese American soldiers on the Korean battlefield? 

Abstract: This paper discusses representations of Japanese American soldiers during the Korean War (1950-1953) in Hollywood films. Today, it is estimated that 5,000-6,000 Japanese American Nisei (the second generation of Japanese) men served in the Korean War, and they integrated into multi-racial units from this period. However, compared with the recent popularity and reputations within the U.S. for racially segregated units who fought during World War II, such as the United States Army 442nd Regimental Combat Team, the presence of Japanese American soldiers in Korea has been ignored by American history and the public for a long time. In order to understand their cultural images in the 1950s, the paper analyzes two popular Hollywood films: Steel Helmet (1951) and Pork Chop Hill (1957). Both films cast Japanese American figures as important sub-characters. These characters appear as brave male combat soldiers on the battlefield, and they perform as the “good buddies” of the white male American main characters, rather than any other minority soldiers, such as African Americans. Yet the service population of Asian Americans was less than 1% of the U.S. military during this period, and Japanese Americans were a very small population in fact. Why did they appear in these films as idealistic minority soldiers on the battlefield? Through the analysis of films, the paper tries to reveal how figures of Japanese American soldiers in Korea were favorable for the U.S. government of the same period because they showed that the former U.S. enemies had now transformed into loyal US citizen-soldiers and further, their equal treatment in the military helped to demonstrate U.S. supremacy under the Cold War system.

 

Discussants:

1. Professor Eyal Ben-Ari (Kinneret Center on Peace, Security and Society, the Kinneret Academic College, Israel & International Research Center for Japanese Studies)

http://www.kinneret.ac.il/Web/En/ResearchCenters/KinneretCenterOnPeace/TheStaff/5312.aspx

2. Professor Scott Laderman (University of Minnesota Duluth & Fulbright Scholar at the University of Hong Kong)

http://www.d.umn.edu/cla/news/LadermanFulbright.html

3. Professor Donald L. Baker (The University of British Columbia & visiting professor at Ritsumeikan University)

http://asia.ubc.ca/persons/donald-baker/

4. Ms. Akiko Sato (Ph.D. Candidate, Osaka University)

 

Session 2: 15:00 – 16:30

Professor Shuichi Takebayashi, Adjunct Professor (Kobe University, Doshisha University, Kinki University)

https://www.linkedin.com/in/takebay1

 

Title: Another Side of American Folk Music Revival: The Kingston Trio and Authenticity in the post-WWII Period

Abstract: Amid the height of folk music revival movement in the late 1950s, in which some Americans found traditional folk songs a more genuine musical style than the mainstream popular music, the Kingston Trio made a debut from Capitol Records, claiming themselves as a folk group. The Kingston Trio instantly rose to stardom with the single “Tom Dooley” that reached number one on Billboard magazine. The Kinston Trio, however, soon became the subject of criticism from the folk music community because of the Kingston Trio’s “un-authentic” manner of dealing with folk music materials.

 

This paper considers how the notion of authenticity that had long defined folk music was transformed in the late 1950 and 1960s, by looking at the career of the Kingston Trio. In the post-WWII period of prosperity, the cultural meaning of authenticity was under transformation. It was the Kingston Trio who most embodied this transformation, stirring controversy about folk music’s authenticity. Unlike traditional folk singers who, intentionally or not, made themselves affiliated with leftist politics and hoped to be the spokesmen for common Americans, the Kingston Trio aimed at providing the urban, middle-class Americans with a postwar renovated version of folk music and its fresh interpretation, blurring the political boundary. The Kingston Trio’s folk music represented a significant cultural change in the postwar American popular music.

 

Discussants:

1. Professor Nanako Tatebayashi (Kanagawa University)

2. Professor Gavin James Campbell (Doshisha University)

http://global-studies.doshisha.ac.jp/en/teacher/teacher/gavin.html

3. Dr. Mayako Shimamoto (Independent researcher)

 

 

17:00-19:30 Graduate Students’ presentations and Round Table over Supper

日時: 2015年11月22日 (日) 13:00 から 20:30
主催: 箕面アメリカ研究会
場所: student commons, seminar room #2 (2F)
参加登録: 必要(メール)
連絡先: Yoneyuki Sugita
sugita@lang.osaka-u.ac.jp

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