Mainichi: Japan, US academics demand NHK explain offensive BLM anime. And how about all the others (including NHK) in the past?

Mainichi: Academics in Japan and the United States submitted a letter to NHK on June 12 demanding the Japanese public broadcaster clarify why it broadcast an anime explainer of Black Lives Matter protests that was subsequently condemned as racist, and that it also outline its views on the matter and possible preventive measures. In their five-page letter to the NHK, the experts in U.S. studies describe the video as “including content that cannot be overlooked.” Among its 13 signatories are professor Fumiko Sakashita of Ritsumeikan University in Tokyo and professor Yasumasa Fujinaga of Japan Women’s University, also in the capital. The letter is addressed to the NHK president, as well as the heads of the international news division and the News Department. The writers say they will recruit supporters in both the U.S. and Japan.

The around 1-minute-20-second animated video that the letter discusses was originally shown on NHK news program “Kore de Wakatta! Sekai no Ima” (Now I Understand! The World Now) and shared on the broadcaster’s official Twitter account on June 7. It was intended as an explanation for the demonstrations that began in the U.S. after George Floyd, a black man, was killed by a white police officer kneeling on his neck. It features a muscular, vested black man shouting about economic inequality in the U.S., and makes no reference to the death of George Floyd at the hands of police. The letter to NHK described the depiction of the man as stereotypical, saying, “He is given an excessively muscular appearance, and speaks in an emphatically coarse and violent way.” It added that in the U.S., “This stereotype has a history of being used to legitimize lynching of black people and the loss of their lives from police brutality.”

NHK: “We at NHK would like to sincerely apologize for a computer animation clip posted on our Twitter account. […]. The one-minute-21-second clip aimed to show the hardships, such as economic disparity, that many African Americans in the US suffer. However, we have decided to take the clip offline after receiving criticism from viewers that it did not correctly express the realities of the problem. We regret lacking proper consideration in carrying the clip, and apologize to everyone who was offended.”

DEBITO: I call BS.  NHK knew full well what these subcontracted segments are like, as this subcontractor been hired before for other Japanese TV programs (example below).  That’s what that subcontractor has done for years.  NHK just expected that this would be for “domestic consumption only” and the Gaijin wouldn’t see it, (because after all, “foreigners” don’t watch Japanese TV (because Japanese is too hard a language for them to understand).  That’s also BS.  And NHK (not to mention most of Japan’s other media, see a list in this blog entry) still hasn’t learned their lesson after all these decades.

Cracked.com: Racialized characters in Japanese video games

As Japan switches its economic clout into more “soft power” issues (i.e., selling its culture instead of its hardware; cf. METI’s promotion of “Cool Japan”), we are seeing instances of where Japan’s conceits and “blind spots” (i.e., a lack of cultural sensitivity towards, for example, minorities both in Japanese society and in other societies) have seeped into its output, with imperfect filters in place.

Take for example one of my favorite sites for procrastination and indulging in hilarious writing: Cracked.com. They have a pretty good research staff, and have dug up several instances of Japanese video games (since Japan dominates the industry) that are, as they put it, “politically incorrect” (today’s word for “racist”, since you can still be “politically incorrect” yet use it as a source of, say, humor; but it’s still the same “othering”, racializing, and subordinating process). We have examples of:

Gay characters in the Sega’s VENDETTA street-fighting game the dry-hump everything as a weapon, and in BARE KNUCKLE 3 that mince about flamingly etc. (these were left in the Japanese version but removed from the overseas versions and in subsequent versions).
Blackface and n*gger-lipped characters in Nintendo’s SQUARE NO TOM SAWYER game (which never got released in the US; wonder why).
GEKISHA BOY, where street-animal African-Americans come in three types: “street pimp, prostitute, and Michael Jackson”.
Sega’s DJ BOY, which features a stereotypical Big Black Mama shooting fireballs out of her anus.

And plenty more. As Cracked.com demonstrates, the Japanese market generally keeps these (and other) stereotypes and conceits alive and well (as if Japan doesn’t need to worry about how they affect public perceptions of minorities in Japan), while for overseas markets things get sanitized (or not, occasioning protests and backpedaling) when Japanese sellers suddenly develop a “sensitivity”.

If Japan really wants to keep its cultural exports viable, maybe it should attempt understand how other people anywhere, including within Japan, might feel about being represented in such a fashion. Or, if stereotyping is used as a source of humor, allow for everyone to be “fair game” (which, I have argued before, doesn’t happen enough in Japan; there is certainly ample Japanese protest when Japanese get similarly stereotyped).