Online Session A2

Gender Narratives Across Borders : Politics, Media and Society

Seriality, Gender and Indian Diaspora: The Cross-Cultural Appeal of Indian Media in Japan 

Shweta Arora 

Indian cinema, renowned for its vivid storytelling, has had an intermittent impact in Japan. In 1990s Rajinikanth’s film Muthu (dir. Ravikumar, 1995) sparked the Odoru Maharaja series in Japan, a trend reinvigorated by director S.S. Rajamouli's Baahubali (2015). While seriality might imply a significant commonality among three or more films, in India, where sequels are rare, even two connected films may denote seriality. I argue that while Baahubali's two-part serial format enhances its appeal, this kind of seriality does not derive solely from its narrative structure but also from external elements such as the director Rajamouli and the popularity of his Oscar-winning film RRR (2022).  

To support my argument, I examine Japanese audiences who, after watching RRR, returned to view the Baahubali saga. Furthermore, I highlight the Japanese audience’s appreciation for the portrayal of powerful female characters in Indian films.  

Using AI-driven analytics, I evaluate online reviews from Japanese viewers to identify patterns and gauge engagement. Despite ample literature on Indian media and Japanese popular culture, their convergence remains unexplored, especially concerning Indian media reception in Japan, remains under-studied. My study delves into this intersection, emphasizing gender and seriality and providing fresh insights into the diaspora's cinematic influence in Japan. 

Unmanly Moon Man: Gender Discourse and New Cold War Narratives in East Asian Science Fiction Films 

Huiyan Zhang 

In April 2023, China signed the cooperation with Asia-Pacific Space Cooperation Organization to push the Lunar Exploration Project. Then NASA announced new progress in the Artemis Program, with plans to send astronauts to the moon in 2025. The two 21st-century moon landing initiatives may mark the beginning of the Space Race again. This paper investigates the popularity of science fiction movies in East Asia during this period. The article presents critical analyses of three films, Nobita's Chronicle of the Moon Exploratio (2019) in Japan, Moon Man (2022) in China and The Moon (2023) in South Korea, and compares them to The Martian (2014) in the US. The study intends to discover distinctive East Asian characteristics in the ideological manifestation by interacting with theories of governmentality and gender. The heroes in the mentioned Asian films are cowardly, incompetent, or feminine, while the heroines are composed, professional, and powerful. This contrasts with the intelligent, brave, and masculine male protagonists and secondary female characters in American films. This paper examines how East Asia attempts to counter the US superpower and reshape the global landscape in terms of the propaganda of universal love through gender discourse. 

Critiquing the “Love Brain”: Gender Dynamics, Dichotomies, and New Disciplinary Mechanism in Contemporary Chinese Romantic Perception on Social Media 

Jane (Zhuyuan) Han 

In 2022, the term “love brain (lian'ai nao)” has gained significant traction in the Chinese online sphere, referring to individuals who prioritize love above all else and neglect their own well-being. Fueled by discussions surrounding a television drama featuring the female character named Wang Baochuan, who endures hardships and forages for wild vegetables while waiting for the return of her husband, the term has become an internet meme used to mock and caution against excessive romantic idealization. This chapter examines the critique of the “love brain” and the associated gender stereotypes on Chinese social media, represented by Xiaohongshu (RED) and Douban forum. Drawing on theories of Eva Illouz and Anthony Giddens, it investigates the interplay of power dynamics, capitalism, and gender norms within perception of intimate relationships. It argues that while the criticism of the “love brain” reflects an awareness of power struggles within romantic relationships infiltrated by rationality and capitalist logic, it also reinforces a dichotomy between rationality and emotions, perpetuating stereotypical gender perceptions. Moreover, it explores the emergence of a new kind of disciplinary mechanism that constrains women’s desires for love and reveals the challenges faced by women in contemporary society. By delving into these complexities, this chapter hopes to shed light on the intricate interplay between romance, gender dynamics, and societal expectations towards women in China today. 

Coke Studio India and the Genre of Indian “Fusion” 

Yaneng Zhang 

Coke Studio India (CSI) was one national version Coca-Cola’s global branding project. As a musical-television program broadcast on MTV India (2011-2015), CSI musically and stylistically mirrored the success of the Pakistan version. It melded diverse musical classical and regional styles together with western popular/jazz influences to create a distinctive version of genre that Indian musicians often label “fusion”. 

Combining data from interviews conducted with CSI program producers, music directors and musicians with archival research and musical analysis, this research examines the uniqueness of fusion in CSI. Through music examples, this research demonstrates how CSI integrates classical, folk, and contemporary genres, underscoring India's profound musical legacy. The perception of “fusion” differs based on informants’ role within the program and their musical background. While some musicians leveraged fusion to create sounds different from India’s mainstream film music, program producers used fusion as Coca-Cola’s branding strategy to connect with audiences, evoking feelings of unity and national pride. Fusion as a genre encompasses musical and socio-cultural dimensions, reflects commercial implications, and demarcates musical boundaries. This research unveils how fusion is rooted in India's musical heritage and demonstrates the efforts of different individuals to uphold distinctiveness.