tabana wrote:
Wow :wow: amazing. Nice stuff. :thumbsup:
quoatations from a fascinating treatise written in
2004 about Audrey Hepburn and Japan:
I analyse the phenomenon of Audrey Hepburnfs popularity among Japanese women to provide an example of how imagery and its eauraf can be effectively commodified, and then either attached to goods or sold as a form of media content. I argue that Hepburnfs lasting popularity is not just a passing fad, like many other imported foreign trends; rather, the (re)production of the Japanese Hepburn symbolises an integral part of the local economic etraditionf of how female idols are perceived. This can be seen by analysing the functions of such idols in Japanese popular culture and comparing the rhetoric employed to describe Hepburnfs image in the popular press, mainly womenfs magazines. I argue that the Japanese Audrey Hepburn is indeed eauthentic and originalf.
Audrey Hepburn, or rather, Edda van Heemstra Hepburn-Ruston, the Belgian-born Hollywood
film-star from the 1950s and 60s, still remains vastly popular in Japan. She is popular not only among middle-aged women who have grown up watching her movies, and therefore might have nostalgic memories of her, but also among young women in their mid 20s who would have no such recollections
of her. This latter group has learnt about her either through watching old films or through seeing her ereincarnationsf in the marketplace. There is no other western idol who enjoys the same level of popularity in Japan, a popularity which endures even today, in 2004 more than a decade after her death.
since Audrey Hepburnfs first popular film Roman Holiday arrived in the antiquated fashion centre of Ginza in Tokyo in 1954, her popularity has continued, flourished, and even been erenewedf through time to the present day.
Comparing descriptions of Hepburn and the most popular Japanese idols in womenfs magazines will help to demonstrate the common ground. Hepburn is seen as an eternally young, pure, child-like woman, with desirable female elegance and a good work ethic, as well as being a good mother to her son. Amongst innumerable similar articles, More (a magazine targeted at 20 to 25 year old women) published an analysis in 1999, giving ten essential qualities of the most idolised Japanese female pop stars. The first example was the immensely popular Matsushima Nanako, a model, who is also active in television dramas and popular movies. The description of her in the article is strikingly similar to that of Hepburn. Her face is said to be amiably Japanese e‚µ‚¢, her physique
to be slender; she is described as having ea clear voice, a body with no superfluous flesh and an overwhelming sense of cleanness Ÿ‚ñ‚¾º‚Æ‚º‚¢“÷‚̂Ȃ¢‘̂ɂ͈³“|“I‚È´Œ‰Š´‚ª‚ ‚èf. All this has also been said about Hepburn. Matsushima is also said to have a egood work ethicf—an attribute also often used to describe Hepburn.
Audrey Hepburn started appearing in commercials in Japan as early as May 1971...
The young women of the late 1980s and 90s consumed not only big European brand-names, but also more knowledge. As a marketing strategy, department stores such as Seibu offered a variety of courses to inculcate in young women knowledge of western habits and customs, and opened in-house art museums to attract the increasingly cultured consumers. Although eShibuya-Keif has now morphed into new styles and trends, Girly culture was its main component in early 1990s. For some, Girly fashion would be typically epostmodernf—it mixed and borrowed heavily from fashions of the 1950s and 60s.
Amongst the phenomena of Girly culture there was a zealous consumption of the so-called Hepburn styles.