Skip to content
1981
Queering the Korean Wave
  • ISSN: 2051-7084
  • E-ISSN: 2051-7092

Abstract

The Japanese live-action TV adaptations of (2019) and (2022) complement and develop widespread efforts to teach LGBT issues in contemporary Japan. As the series’ content often repudiates common LGBT and gender stereotypes in the same forms found in non-fiction media, public discourse surrounding the works lauds their depiction of ‘real’ same-sex relationships. This article analyses the series’ ‘real’ positioning through theories regarding the transmedia development of everyday participatory spaces. The series’ social instruction is echoed in their fixation on recipes made available through associated marketing materials. The combination of content lessons and participation-based marketing creates a visible spectacle of LGBT activism characterized by transmissible instructions shown as achievable in the home lives of participants. That home focus is, however, inseparable from the series’ respectability politics, which use the buzz of visibility to display invisible existences aligned with public normativity. The LGBT awareness promoted by these texts and their surrounding discourse can be read as an addition to contemporary advocacy that positions minorities as non-disruptive societal outsiders. By making invisible lifestyles replicable, these works deploy transmedia forms to construct transmission-based intimacy that is ultimately confined to personal consumption.

Loading

Article metrics loading...

/content/journals/10.1386/eapc_00133_1
2024-12-26
2025-04-28
Loading full text...

Full text loading...

References

  1. Ako, Mari (阿古真里) (2020), ‘Ninki manga “Kinō Nani Tabeta?” ga josei-tachi no kokoro o tsukamu “nattoku no riyū”’ (‘The understandable reason why the popular manga What Did You Eat Yesterday? captures women’s hearts’), Gendai, 8 February, https://gendai.media/articles/-/70232. Accessed 6 January 2023.
  2. Allison, Anne (2006), Millennial Monsters: Japanese Toys and the Global Imagination, Berkeley, CA: University of California.
    [Google Scholar]
  3. Aoyama, Tomoko (2008), Reading Food in Modern Japanese Literature, Honolulu, HI: University of Hawai‘i Press.
    [Google Scholar]
  4. Aoyama, Tomoko (青山友子) (2010), ‘Yoshinaga Fumi no manga ni miru “shoku” to jendā: Food and gender in the manga of Yoshinaga Fumi’, Center for Comparative Japanese Studies Annual Bulletin, 6, pp. 15361.
    [Google Scholar]
  5. Aoyama, Tomoko (2015), ‘Queering the cooking man: Food and gender in Yoshinaga Fumi’s (BL) manga’, in M. McLelland, K. Nagaike, K. Suganuma and J. Welker (eds), Boys Love Manga and Beyond: History, Culture, and Community in Japan, Jackson, MS: University of Mississippi Press, pp. 23352.
    [Google Scholar]
  6. Benson, Anya (2022), ‘Lonely just like you: The logic of distance in Japanese diversity guidebooks’, The Electronic Journal of Contemporary Japanese Studies, 22:2, n.pag., https://www.japanesestudies.org.uk/ejcjs/vol22/iss3/benson.html. Accessed 27 December 2022.
    [Google Scholar]
  7. Gotō, Jun’ichi (後藤純一) (2019), ‘Gei kappuru no nichijō o egaku dorama “Kinō Nani Tabeta?” ni taishite “takamaru ‘Shuen-Jo-Yūshō’ no koe” to kaita J-CAST New ni hihan no koe’ (‘Voices criticizing J-CAST New’s writing “voices rising for Award for Outstanding Actress” regarding the drama What Did You Eat Yesterday?, which portrays the everyday life of a gay couple’), Pride Japan, 18 June, https://www.outjapan.co.jp/pride_japan/news/2019/6/17.html. Accessed 27 December 2022.
    [Google Scholar]
  8. Hamada, Keiko (浜田敬子) (2021), ‘“‘Kinō Nani Tabeta?’ ga shiji sareru koto wa kibō” jānarisuto Hamada Keiko-san ga susumeru dorama 3-saku’ (‘“It is my hope that What Did You Eat Yesterday? will be supported”: 3 dramas recommended by journalist Hamada Keiko’), Yomitai, 31 December, https://yomitai.jp/special/08-subsc/2/. Accessed 6 January 2023.
  9. Ito, Mizuko (2008), ‘Mobilizing the imagination in everyday play: The case of Japanese media mixes’, in K. Drotner and S. Livingstone (eds), The International Handbook of Children, Media and Culture, London: SAGE Publications, pp. 397412.
    [Google Scholar]
  10. Jenkins, Henry (2006), Convergence Culture: Where Old and New Media Collide, New York: New York University Press.
    [Google Scholar]
  11. Jenkins, Henry (2007), ‘Transmedia storytelling 101’, Pop Junctions, 21 March, http://henryjenkins.org/blog/2007/03/transmedia_storytelling_101.html. Accessed 21 December 2022.
  12. Jenkins, Henry (2016), ‘Youth voice, media and political engagement: Introducing the core concepts’, in H. Jenkins, S. Shresthova, L. Gamber-Thompson, N. Kligler-Vilenchik and A. M. Zimmerman (eds), By Any Media Necessary: The New Youth Activism, New York: New York University Press, pp. 160.
    [Google Scholar]
  13. Kamiya, Yuichi (神谷悠一) (2022), Sabetsu wa Omoiyari de wa Kaiketsu shinai: Jendā ya LGBTQ kara Kangaeru (‘Compassion will not solve discrimination: Thinking from gender and LGBTQ’), Tokyo: Shueisha Shinsho.
    [Google Scholar]
  14. Kanno, Yuka (2011), ‘Love and friendship: The queer imagination of Japan’s early girls’ culture’, in M. C. Kearney (ed.), Mediated Girlhoods: New Explorations of Girls’ Media Culture, New York: Peter Lang, pp. 1734.
    [Google Scholar]
  15. Kawasaka, Kazuyoshi (2023), ‘Queers and national anxiety: Discourses on gender and sexuality from anti-gender backlash movements in Japan since the 2000s’, in J. Goetz and S. Mayer (eds), Global Perspectives on Anti-Feminism: Far-Right and Religious Attacks on Equality and Diversity, Edinburgh: Edinburgh University Press, pp. 182201.
    [Google Scholar]
  16. Kazama, Takashi (2020), ‘Conditional inclusion: Sexual minorities, tolerance, and nationalism’, Japanese Journal of Sociology, 29:1, pp. 3951, https://bibliotheek.ehb.be:2102/10.1111/ijjs.12110.
    [Google Scholar]
  17. Kligler-Vilenchik, Neta (2016), ‘“Decreasing world suck”: Harnessing popular culture for fan activism’, in H. Jenkins, S. Shresthova, L. Gamber-Thompson, N. Kligler-Vilenchik and A. M. Zimmerman (eds), By Any Media Necessary: The New Youth Activism, New York: New York University Press, pp. 10248.
    [Google Scholar]
  18. Kodansha (eds) (2021), Gekijōban Kinō Nani Tabeta?: Ofisharu Bukku (‘What Did You Eat Yesterday? film: Official book’), Tokyo: Kodansha.
    [Google Scholar]
  19. Maree, Claire (2017), ‘Weddings and white dresses: Media and sexual citizenship in Japan’, Sexualities, 20:1–2, pp. 21233, https://bibliotheek.ehb.be:2102/10.1177/1363460716645790.
    [Google Scholar]
  20. McLelland, Mark (2000), ‘Is there a Japanese gay identity?’, Culture, Health & Sexuality, 2:4, pp. 45972.
    [Google Scholar]
  21. McLelland, Mark and Suganuma, Katsuhiko (2009), ‘Sexual minorities and human rights in Japan: An historical perspective’, The International Journal of Human Rights, 13:2–3, pp. 32943, https://bibliotheek.ehb.be:2102/10.1080/13642980902758176.
    [Google Scholar]
  22. Ministry of Health, Labour and Welfare (2020), ‘Shokuba in okeru daibāshiti suishin jigyō: Hōkokusho’ (‘Diversity promotion projects in the workplace: Report’), March, https://www.mhlw.go.jp/content/000673032.pdf. Accessed 30 August 2023.
  23. Miwa Yumiko (三輪祐見子) (2018), Ossanzu Rabu (Ossan’s Love), Japan: TV Asahi.
    [Google Scholar]
  24. Miwa Yumiko (三輪祐見子) (2019), Ozzanzu Rabu: In the Sky (Ossan’s Love: In the Sky), Japan: TV Asahi.
    [Google Scholar]
  25. Nakae, Kazuhito (中江和仁) (2021), Gekijōban ‘Kinō Nani Tabeta?’ (‘What Did You Eat Yesterday? film’), Japan: Toho.
    [Google Scholar]
  26. Nakae, Kazuhito (中江和仁), Nojiri, Katsumi (野尻克己) and Katagiri, Kenji (片桐健滋) (2019), Kinō Nani Tabeta? (What Did You Eat Yesterday?), Japan: TV Tokyo and Shochiku.
    [Google Scholar]
  27. Nanasaki, Ryōsuke (七崎良輔) (2019), ‘Riaru ni fūfu seikatsu o shiteiru gei ga mita “Kinō Nani Tabeta?’ (‘What Did You Eat Yesterday? watched by a gay man leading a real married life’), Bunshun Online, 31 May, https://bunshun.jp/articles/-/12077. Accessed 27 December 2022.
    [Google Scholar]
  28. NHK (2022a), ‘Dorama “TsukuTabe” “mienikui josei-tachi” o tsutaetai koshō, Gōda Aya-san intabyū’ (‘An interview with “TsukuTabe” drama researcher Gōda Aya, who wants to convey “hard-to-see women”’), 2 December, https://www.nhk.or.jp/gendai/comment/0029/topic097.html. Accessed 2 February 2023.
  29. NHK (2022b), ‘Seisaku no butai-ura tōku: “TsukuTabe” dorama’ (‘A behind-the-scenes production talk: “TsukuTabe” drama’), 10 December, https://www.nhk.jp/p/tsukutabe/ts/5NX1QRN3VM/blog/bl/pGWWO8DWJG/bp/pbPX75VBnb/. Accessed 2 February 2023.
  30. Ōtsuka, Eiji (大塚英志) (1989), Monogatari Shōhi-ron: ‘Bikkuriman’ no Shinwagaku (‘A theory of narrative consumption: The mythology of “Bikkuriman”’), Tokyo: Shin-yo-sha.
    [Google Scholar]
  31. Ōtsuka, Eiji (大塚英志) (2016), Kanjō-ka suru Shakai (‘An emotionalizing society’), Tokyo: Ohta Shuppan.
    [Google Scholar]
  32. Ōtsuka, Aki (大塚安希) (2022), ‘Dorama “TsukuTabe” de kōtei shitai “hitori hitori no shiawase”’ (‘I want to affirm “each person’s happiness” with the drama “TsukuTabe”’), NHK Minna de Purasu, 28 November, https://www.nhk.or.jp/gendai/comment/0029/topic096.html. Accessed 27 December 2022.
  33. Sakabe, Kōji (坂部康二), Ōtsuka, Aki (大塚安希) and Katsuta, Natsuko (勝田夏子) (2022), Tsukuritai Onna to Tabetai Onna (She Loves to Cook, and She Loves to Eat), Japan: NHK Enterprises, Inc.
    [Google Scholar]
  34. Shamoon, Deborah (2012), Passionate Friendship: The Aesthetics of Girls’ Culture in Japan, Honolulu, HI: University of Hawai‘i Press.
    [Google Scholar]
  35. Shintani, Takanori (新谷尚紀) (2005), Yanagita Minzokugaku no Keishō to Hatten: Sono Shiten to Hōhō (‘The succession and development of Yanagita folklore studies: Perspectives and methods’), Tokyo: Yoshikawa Kōbunkan.
    [Google Scholar]
  36. Shirakawa, Tōko (白河桃子) (2019), ‘“NaniTabe” rosu no minasan rōhō desu! Yappari Shuen-Dan-Yūshō datte sa’ (‘Good news for everyone suffering from “NaniTabe” loss! It will be Award for Outstanding Actor after all’), Otekomachi, 13 August, https://www.yomiuri.co.jp/otekomachi/20190808-OKT8T167425/. Accessed 6 January 2023.
  37. Steinberg, Marc (2012), Anime’s Media Mix: Franchising Toys and Characters in Japan, Minneapolis, MN: University of Minnesota Press.
    [Google Scholar]
  38. Suganuma, Katsuhiko (2007), ‘Associative identity politics: Unmasking the multi-layered formation of queer male selves in 1990s Japan’, Inter-Asia Cultural Studies, 8:4, pp. 485502, https://bibliotheek.ehb.be:2102/10.1080/14649370701567955.
    [Google Scholar]
  39. Tsukuritai Onna to Tabetai Onna (作りたい女と食べたい女) (2022), ‘Tsukuritai Onna to Tabetai Onna Chariti Purojekuto’ (‘She Loves to Cook, and She Loves to Eat Charity Project’), KADOKAWA, 15 November, https://product.kadokawa.co.jp/tsuku_tabe/charity.html. Accessed 11 January 2023.
  40. TV Tokyo (2019), ‘Tere-Tō, meshi dorama no keifu “Kinō Nani Tabeta?” irei no hitto’ (‘TV Tokyo’s cooking drama lineage What Did You Eat Yesterday? is an outstanding hit’), 1 June, https://www.tokyo-np.co.jp/article/7363. Accessed 6 January 2023.
  41. Usui, Hiroyoshi (碓井広義) (2019), ‘Shinya dorama “Kinō Nani Tabeta?” ga kokochi-yoi no wa, naze!?’ (‘Why is the late-night drama What Did You Eat Yesterday? so comfortable!?’), Yahoo! Japan, 12 May, https://news.yahoo.co.jp/byline/usuihiroyoshi. Accessed 6 January 2023.
  42. Watanabe, Daisuke (渡辺大輔) (2019), ‘Kyōiku jissen-gaku to shite no kuia pedagojī no igi’ (‘The significance of queer pedagogy for educational praxis’), in N. Kikuchi, Y. Horie and Y. Iino (eds), Kuia Sutadīzu o Hiraku 1: Aidentiti, Komyuniti, Supēsu (Exploring Queer Studies 1: Identity, Community, Space), Kyoto: Koyo Shobo, pp. 13465.
    [Google Scholar]
  43. Web Za Terebijon (2022), ‘Tsukuritai Onna to Tabetai Onna” dorama seisaku tōkatsu ga kataru ito “josei dōshi no ren’ai ga, shizen na katachi de mein de egakareru koto ni imi ga aru”’ (‘The executive producer of the She Loves to Cook, and She Loves to Eat drama series talks about her intention, “it is meaningful to depict romance between women in a natural shape as the main”’), Web Za Terebijon, 28 November, https://thetv.jp/news/detail/1112432/. Accessed 2 February 2023.
  44. Yamaguchi, Tomomi (2014), ‘“Gender free” feminism in Japan: A story of mainstreaming and backlash’, Feminist Studies, 40:3, pp. 54172.
    [Google Scholar]
  45. Yano, Christine Reiko (2013), Pink Globalization: Hello Kitty’s Trek Across the Pacific, Durham, NC: Duke University Press.
    [Google Scholar]
  46. Yoshida, Ushio (吉田潮) (2021), ‘Kinō Nani Tabeta?” Bannin kara aisareru nattoku no riyū’ (‘The understandable reason why What Did You Eat Yesterday? is loved by ten thousand people’), Tōyō Keizai Online, 4 December, https://toyokeizai.net/articles/-/471816?page=4. Accessed 13 January 2023.
    [Google Scholar]
  47. Yoshinaga, Fumi (よしながふみ) (2007–23), Kinō Nani Tabeta? (What Did You Eat Yesterday?), Tokyo: Kodansha.
    [Google Scholar]
  48. Yuzaki, Sakaomi (ゆざきさかおみ) (2021–23), Tsukuritai Onna to Tabetai Onna (She Loves to Cook, and She Loves to Eat), Tokyo: KADOKAWA.
    [Google Scholar]
/content/journals/10.1386/eapc_00133_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error
Please enter a valid_number test