Japanese Robot Culture examines social robots in Japan, those in public, domestic, and artistic contexts. Unlike other studies, this book sees the robot in relation to Japanese popular culture, and argues that the Japanese ‘affinity’ for robots is the outcome of a complex loop of representation and social expectation in the context of Japan’s continuing struggle with modernity. Considering Japanese robot culture from the critical perspectives afforded by theatre and performance studies, this book is concerned with representations of robots and their inclusion in social and cultural contexts, which science and engineering studies do not address. The robot as a performing object generates meaning in staged events and situations that make sense for its Japanese observers and participants. This book examines how specific modes of encounter with robots in carefully constructed mises en scène can trigger reflexive, culturally specific, and often ideologically-inflected responses.

While the US sponsors robot-on-robot destruction contests, Japan's feature tasks that mimic non-violent human activities. Why is this? What accounts for Japan's unique relationship with robots as potential colleagues in life, rather than potential adversaries? This book answers this query by looking at Japan's historical connections with robots. Japan stands out for its long love affair with robots, a phenomenon that is creating what will likely be the world's first mass robot culture. While US companies have created robot vacuum cleaners and war machines, Japan has

Japan is arguably the first postindustrial society to embrace the prospect of human-robot coexistence. Over the past decade, Japanese humanoid robots designed for use in homes, hospitals, offices, and schools have become celebrated in mass and social media throughout the world. In Robo sapiens japanicus, Jennifer Robertson casts a critical eye on press releases and public relations videos that misrepresent robots as being as versatile and agile as their science fiction counterparts. An ethnography and sociocultural history of governmental and academic discourse of human-robot relations in Japan, this book explores how actual robots—humanoids, androids, and animaloids—are “imagineered” in ways that reinforce the conventional sex/gender system and political-economic status quo. In addition, Robertson interrogates the notion of human exceptionalism as she considers whether “civil rights” should be granted to robots. Similarly, she juxtaposes how robots and robotic exoskeletons reinforce a conception of the “normal” body with a deconstruction of the much-invoked Theory of the Uncanny Valley.

In a world of globalised media, Japanese popular culture has become a signifi cant fountainhead for images, narrative, artefacts, and identity. From Pikachu, to instantly identifi able manga memes, to the darkness of adult anime, and the hyper- consumerism of product tie- ins, Japan has bequeathed to a globalised world a rich variety of ways to imagine, communicate, and interrogate tradition and change, the self, and the technological future. Within these foci, questions of law have often not been far from the surface: the crime and justice of Astro Boy; the property and contract of Pokémon; the ecological justice of Nausicaä; Shinto’s focus on order and balance; and the anxieties of origins in J- horror. This volume brings together a range of global scholars to refl ect on and critically engage with the place of law and justice in Japan’s popular cultural legacy. It explores not only the global impact of this legacy, but what the images, games, narratives, and artefacts that comprise it reveal about law, humanity, justice, and authority in the twenty-first century.

Born of Japan's cultural encounter with Western entertainment media, manga (comic books or graphic novels) and anime (animated films) are two of the most universally recognized forms of contemporary mass culture. Because they tell stories through visual imagery, they vault over language barriers. Well suited to electronic transmission and distributed by Japan's globalized culture industry, they have become a powerful force in both the mediascape and the marketplace.This volume brings together an international group of scholars from many specialties to probe the richness and subtleties of these deceptively simple cultural forms. The contributors explore the historical, cultural, sociological, and religious dimensions of manga and anime, and examine specific sub-genres, artists, and stylistics. The book also addresses such topics as spirituality, the use of visual culture by Japanese new religious movements, Japanese Goth, nostalgia and Japanese pop, "cute" (kawali) subculture and comics for girls, and more. With illustrations throughout, it is a rich source for all scholars and fans of manga and anime as well as students of contemporary mass culture or Japanese culture and civilization.

Matt Alt describes the best from the 'golden age' of Japanese robot toys, from Mazinger Z to Valkyrie. He introduces the foremost Japanese toy companies and highlights significant developments.

Since the end of the Second World War—and particularly over the last decade—Japanese science fiction has strongly influenced global popular culture. Unlike American and British science fiction, its most popular examples have been visual—from Gojira (Godzilla) and Astro Boy in the 1950s and 1960s to the anime masterpieces Akira and Ghost in the Shell of the 1980s and 1990s—while little attention has been paid to a vibrant tradition of prose science fiction in Japan. Robot Ghosts and Wired Dreams remedies this neglect with a rich exploration of the genre that connects prose science fiction to contemporary anime. Bringing together Western scholars and leading Japanese critics, this groundbreaking work traces the beginnings, evolution, and future direction of science fiction in Japan, its major schools and authors, cultural origins and relationship to its Western counterparts, the role of the genre in the formation of Japan’s national and political identity, and its unique fan culture. Covering a remarkable range of texts—from the 1930s fantastic detective fiction of Yumeno Kyûsaku to the cross-culturally produced and marketed film and video game franchise Final Fantasy—this book firmly establishes Japanese science fiction as a vital and exciting genre. Contributors: Hiroki Azuma; Hiroko Chiba, DePauw U; Naoki Chiba; William O. Gardner, Swarthmore College; Mari Kotani; Livia Monnet, U of Montreal; Miri Nakamura, Stanford U; Susan Napier, Tufts U; Sharalyn Orbaugh, U of British Columbia; Tamaki Saitô; Thomas Schnellbächer, Berlin Free U. Christopher Bolton is assistant professor of Japanese at Williams College. Istvan Csicsery-Ronay Jr. is professor of English at DePauw University. Takayuki Tatsumi is professor of English at Keio University.