EDITORIAL THE IMPACT OF JAPANESE AND SOUTH KOREAN AUDIOVISUAL PRODUCTION IN SPAIN: CIRCULATION, RECEPTION, AND INFLUENCE BLAI GUARNÉ Some years ago now, the actor and director Clint thereby completing his cinematic diptych on the Eastwood explained to a group of students and re- Battle of Iwo Jima in the War of the Pacific. searchers at Stanford University how his work in Viewed from a distance, it seems ironic that the Spaghetti Westerns directed by Sergio Leone it was the experience of filming under the direc- in Spain had provided him with unexpected trai- tion of Leone that prepared Eastwood for filming ning to deal with the challenges of working with the Japanese counterpart to Flags of Our Fathers multilingual film crews. Eastwood recalled his ex- (2006) forty years later, given the lawsuit that the perience as an actor in Almería on productions producers of the Japanese director Akira Kuro- with actors performing in different languages, sawa filed against the Italian filmmaker for stea- in a kind of random linguistic jigsaw puzzle that ling the storyline for A Fistful of Dollars (Per un only got put together when it reached the dub- pugno di dollari, 1964) from Yojimbo (1961).1 Equa- bing studio. This anecdote came up in the discus- lly ironic is the fact that the profits that the Ita- sion after the screening of Letters from Iwo Jima lian film would end up making for the Japanese (2006), a production for which Eastwood had filmmaker were substantially bigger than what directed actors performing entirely in Japanese, he had made from his own film. The anecdote re- L’ATALANTE 29 january - june 2020 7 EDITORIAL pioneering work of Baltasar Pedrosa Clavero (e.g. THE MULTIPLE INFLUENCES THAT Gisaku, 2005) and of productions broadcast on te- HAVE FOUND THEIR WAY INTO AN levision in the 1990s like Dragon Ball (A. Toriya- INCREASINGLY INTEGRATED WORLD, ma, Fuji TV: 1986-1989), Captain Tsubasa (Y. Taka- EVEN IN AN INDUSTRY TRADITIONALLY hashi, TV Tokyo: 1983-1986), Saint Seiya: Knights DOMINATED BY WESTERN MODES of the Zodiac (1986-1989) and Sailor Moon (Bishōjo OF REPRESENTATION AND INFORMED senshi Sailor Moon, 1992-1997) on the work of BY THE DISCOURSES AND PRACTICES brothers Emilio and Jesús Gallego (e.g. Shuriken OF AMERICAN CINEMA School, Xilam and Zinkia Entertainment, Fran- ce 3: 2006) (see Horno, 2014) and Carlos Vermut (see Venet Gutiérrez, 2019) with his constant ex- called by Eastwood reflects the complex tangle of plicit references to Japanese pop culture, and so- linguistic, cultural, narrative, financial and legal mewhat more incidental allusions to Takeshi Ki- factors involved in the production and transna- tano’s Dolls (2002), in his film Magical Girl (2014), tional circulation of films, and ultimately reveals to the indirect connections between Alberto the multiple influences that have found their way Rodríguez’s Marshland (La isla mínima, 2014) into an increasingly integrated world, even in and Bong Joon-ho’s Memories of Murder (Salinui an industry traditionally dominated by Western chueok, 2003) (see Kovacsics and Salvadó, in this modes of representation and informed by the dis- issue), and even the more oblique resonances in courses and practices of American cinema. the work of Carla Simón and Celia Rico (see Garín In considerations of this question, the global and de Vargas, ibíd.). To these examples we could circulation of Japanese and South Korean audio- add Isabel Coixet’s neo-Orientalist turns in Map visual productions has emerged as a singular ob- of the Sounds of Tokyo (Mapa de los sonidos de To- ject of study, both for the aesthetic representatio- kio, 2009) with its unsuccessful emulation of the nal configurations it has disseminated (see Bonillo poetics of Wong Kar-wai, and the very obvious Fernández, 2019; Hinton, 2013; Kinsella, 2014; parodies of Japanese culture in Álvaro Díaz Lo- Morisawa, 2019; Pellitteri, 2018; Tezuka, 2012; renzo’s Los Japón (2019). Wee, 2014) and for the multiple narrative forms Despite the fragmentary nature of these (transmedia, crossmedia) and platforms (media examples, the influence they reflect is indicative mix) it has articulated (see Jenkins, 2008; and also of a profound change in global audiovisual culture Hernández-Pérez, 2017; Loriguillo-López, 2016, that is having as much of an impact in Spain as it 2018; Villa Gracia, 2019). In addition, its contri- is anywhere, a change characterised by a specta- butions to the creation of innovative consumer cular increase in the transnational circulation of practices and subcultural expressions (see An- Japanese and South Korea audiovisual products. net, 2014; Galbraith and Karlin, 2012; Hills, 2016; Following the interest in Japanese manganime Iwabuchi, 2010; Lamarre, 2006; Lee and Nornes, that began more than twenty years ago with the 2015; Miller, 2017; Otmazgin and Lyan, 2013; Sa- appearance on Spanish television of the series bre, 2016; Steinberg, 2012, 2017; Yoon and Yong, mentioned above—preceded in the two decades 2017) constitute another source of interest. beforehand by others like Marco, 3000 Leaves in In Spain, the impact of Japanese and South Search of Mother (Haha wo tazunete sanzen ri, Korean audiovisual culture on local production 1976), Heidi, Girl of the Alps (Alps no shōjo Heidi, has been quite diverse. Examples range from the 1974), and Mazinger Z (1972-1974)—came the suc- influence of Studio Ghibli’s anime pictures on the cess of J-pop and K-pop music among the younger L’ATALANTE 29 january - june 2020 8 EDITORIAL segments of the population. Meanwhile, on televi- sion K-drama and Japanese doramas have found JAPANESE AND SOUTH KOREAN enough of a niche to be included in the catalogues MUSIC, GRAPHIC PRODUCTS, AND of major subscription video-on-demand platforms AUDIOVISUAL PRODUCTIONS NOW like Netflix, with huge potential audiences. Japa- FORM AN INTEGRAL PART OF THE MEDIA nese and South Korean music, graphic products, CONSUMPTION OF SPANISH SOCIETY and audiovisual productions now form an integral part of the media consumption of Spanish society, exerting a powerful influence on the redefinition the central role played by Japan in the circula- of Spaniards’ tastes, interests, and pastimes. tion of audiovisual productions and pop culture As occurred in earlier eras with the literatu- products in the region. He has been particularly re, cuisine, martial arts and video games asso- influential for his analysis of the attempt to eli- ciated with these countries, Japanese and Sou- minate the “cultural odour” of Japanese products, th Korean audiovisual production has become a presenting them as culturally neutral (mukokuseki) part of Spain’s social landscape, consolidated as in order to ensure their penetration into markets one of the most powerful transnational flows of that are still resistant to an influence that repeats contemporary popular culture in the world. Its Japanese imperialism in Asia in the economic and worldwide impact has once again challenged the cultural spheres. The global boom of South Korean theories of the mid-1990s that conceived of globa- popular culture, epitomised by the phenomenon lisation in terms of Westernisation, as a one-way of Hallyu (“Korean wave”), has in turn served to phenomenon whereby the global was understood “decentre” Japanese dominance over media flows as Western influence in a world defined on the within Asia. Kim Youna (2013) has analysed this basis of local peculiarities. These theories identi- question extensively, considering the social, cultu- fying the phenomenon of globalisation as a pro- ral, and political implications of a global expansion cess leading towards the ultimate formation of a closely tied to the rise of digital media and social homogeneous global culture with Euro-Atlantic networks. Especially notable is his analysis of the patterns conforming to an American model (e.g. role played by the South Korean government in McDonaldization,2 Disneyfication3) were contested the planned development of cultural industries as in the mid-2000s by studies that called attention a national project to compete in a context of globa- to the international circulation of non-Western lisation and to attempt to capitalise on it. Specific media and cultural production, especially from initiatives like the Film Promotion Law of 1995, the Asian continent. In this sense, the emergence which provided powerful industrial conglomera- and subsequent consolidation of Japan and South tes (chaebol like Samsung, Hyundai, or Daewoo) Korea as cultural superpowers has forced a reas- with incentives for investment in the audiovisual sessment of the debate about cultural globalisa- sector, have succeeded in displacing Hollywood tion from the perspective of a plurality of centres productions from their dominant position in the that generate content and meaning circulating South Korean market with domestic blockbusters unevenly around the planet. that are also released internationally, in a system The work of Koichi Iwabuchi (2002; 2004; that provides the same support to film production 2004 et al.4, 5) and Kim Youna (2008; 2013; 2019) as that given to exports of industrial products constituted a turning point in academic research like cars and household appliances. In this way, in this field. Iwabuchi (2002) has “re-centred” the Korean cinema, TV fiction series (a driving force globalising processes on East Asia by pointing out behind the “Korean wave”), K-pop (systematically L’ATALANTE 29 january - june 2020 9 EDITORIAL designed and monitored star products targeting genising tendencies (Appadurai, 1996; 2001), inte- an international audience) and online games (a gration and differentiation (Featherstone, 1990; sector in which the country is a leader) have tur- 19957), and connection and disconnection (Fergu- ned into highly popular consumer products both son, 1999; 2006), to cite only the main examples. within and outside Asia, as well as objects of desi- Concepts like global mélange (Nederveen Pieterse, re for new generations that promote their global 1995; 2004), global ecumene (Hannerz, 1992; 1996) circulation. and cosmopolitanism (Mathews, 2000) have ser- It is precisely this idea of “circulation” (Guar- ved to express with varying degrees of success the né and Hansen, 2018; Lee and LiPuma, 2002; complex effects of the dynamics of deterritoria- Tsing, 2000; Valaskivi and Sumiala, 2014) that lisation and reterritorialisation (García Canclini, has emerged in recent years as a useful concept 1996) that shape the contemporary world. Ne- for understanding the complex cultural, political, vertheless, the realm of the local continues to be and economic interactions that define transna- understood largely as a counterpoint to the global tional flows in the context of globalisation. Its that reflects, either in resistance or in adaptation, analytical value lies not only in the way it cap- its most specific impact. The undeniably creative tures the multifaceted nature of the global dis- dimension that underscores this perspective lies semination of images and information but also in the conceptual developments involving notions in the way it clarifies how this happens throu- like “glocalisation” (Robertson, 1992; 1995), “do- gh the constant reconfiguration of the processes mestication” (Tobin, 1992), “creolisation” (Hannerz, and practices that define circulation itself.6 The 1992), “hybridity” (García Canclini, 1996), “localiza- Asian boom has thus acquired an unquestiona- tion” (Long, 1996) and “indigenisation” (Appadurai, ble status in the revision of the principles gui- 1996), among many others. The extent to which ding academic studies of cultural globalisation, these different heuristic concepts have been able which have abandoned theories that equated it to convey the interpretation in terms of adapta- with Westernisation. tion and cultural appropriation of what, in reality, constitutes specific, ontologically original develo- pments, arranged in clusters of multiple relations- hips (social, economic, political, and cultural) is the THE ASIAN BOOM HAS THUS subject of a discussion that is beyond the scope of ACQUIRED AN UNQUESTIONABLE this introduction. I will only note here that the STATUS IN THE REVISION OF THE fact that the “global/local” equation continues to PRINCIPLES GUIDING ACADEMIC STUDIES be obfuscated by the modern categories of “ori- OF CULTURAL GLOBALISATION gin/destination” and “original/copy” (Allen and Sakamoto, 2006), rather than clarifying, actually hinders our comprehension of a multilinear and multifaceted phenomenon resulting from trans- However, there does not appear to have been national dynamics operating in an increasingly the same level of questioning of the “global/local” interconnected world. equation in studies in this field. Since its origins, Discussions related to whether manga is a research on globalisation has sought to explain the uniquely Japanese product, whether music made interaction between global and local forces using by non-Korean groups could be considered K-pop, different theoretical frameworks like the parado- or whether anime can really be called Japanese xical tension between homogenising and hetero- if much of its production is outsourced to studios L’ATALANTE 29 january - june 2020 10 EDITORIAL outside Japan, if its international circulation de- pends on foreign distributors and its content is THE CONVERGENCE OF POLITICAL constantly rearticulated by a fandom that transla- AGENDA AND CULTURAL PRODUCTION tes, reinterprets and disseminates it via alternative HAS THUS CONTRIBUTED TO THE channels of a “remix world” (McLelland, 2018) are REIFICATION OF THE IDEA OF “NATIONAL recurring questions that confuse the focal point of CULTURE” THROUGH SOFT POWER the analysis, placing it on supposed essential cha- STRATEGIES racteristics defined in national terms. If manga or anime become labels despite their “uncompromi- sing ‘otherness’”, to use Napier’s terms (2005: 9), it is precisely because of their hybrid, dislocated raises questions about the transcultural nature and mixed nature, resulting from a constellation of their visual discourses, narrative articulations of different influences and relations that interact and aesthetic conceptualisations that need to be outside what can be captured in binary formu- answered by means of cultural analysis. This task lations like “global/local”, “universal/particular”, becomes even more important in contexts tra- “international/national”, which ultimately reduce ditionally neglected by academic researchers in the post-modern complexity of a period of advan- these areas, like the Spanish context compared ced or late capitalism (choose your preferred term) to the profusion of studies focusing on the disse- à la Jameson (2002) to modern terms. mination, reproduction, and consumption of Ja- All of this is complicated still further when panese and South Korean audiovisual production processes of cultural appropriation are enacted by in English-speaking and Asian contexts. In this those claiming legitimate ownership (e.g. political issue of L’Atalante we have sought to explore all agencies, government programs, public diploma- these issues in the interests of offering a state of cy initiatives) who see the cultural and creative the question that could lay the foundations for re- industries as fertile ground for international po- search on the circulation, reception, and influence litical operations ripe for the application of their of audiovisual expressions of Japanese and South particular agendas. The convergence of political Korean popular culture in our country. With this agenda and cultural production has thus contri- objective, and leaving aside the primacy of the buted to the reification of the idea of “national approaches taken to the question in the Engli- culture” through soft power strategies (Nye, 1990; sh-speaking world, the articles that comprise this Shiraishi, 1997)8 that compete in the global eco- issue’s Notebook section consider the impact of nomy of nation branding (e.g. Cool Japan, South Japanese and South Korean audiovisual produc- Korean Hallyu),9 putting what by their very na- tion in Spain in the broadest sense of the term. ture are multiple, diversified and fragmentary Daniel Ferrera opens the issue with an histori- expressions of popular culture at the service of cal approach to the presence of Japanese commer- univocal discourses. cial animation on Spanish television during a key The problematising of the cultural dimen- period for its consolidation, the 1990s. “Analysis sion in Japanese and South Korean audiovisual of anime programming on generalist television productions, i.e., the problematising of what “Ja- in Spain (1990-1999)” explores how the creation panese” and “Korean” are understood to mean in of private networks on the Spanish television such productions, opens a debate about what we market established a dynamic of intense compe- mean by constructions like “Western”, “Ameri- tition in which anime played an instrumental role can”, “European” and “Spanish” and, in doing so, through a series of bold programming and coun- L’ATALANTE 29 january - june 2020 11 EDITORIAL terprogramming strategies. Through an analysis In line with this question but taking a diffe- of the television schedules of the five national rent and (for that very reason) largely comple- networks (the two public broadcasters TVE1 and mentary analytical perspective, Luis Deltell Es- TVE2, and the private networks Antena 3, Ca- colar and Carla Folgar Arias offer an exploration nal+, and Telecinco), Ferrera describes how anime of the hyperactive communities of fans of audio- programming involved an operation of “testing visual culture associated with Hallyu (“Korean and experimentation” in which counterprogram- wave”), and especially with its most dynamic ma- ming objectives took precedence over the adap- nifestation, K-pop, a genuine “hook” of interest tation of content to the viewing audience. Wor- due to its presence in Spain. Using a hybrid quan- thy of special attention is his consideration of the titative and qualitative research method com- fact that, of all the anime programs broadcast by bining a survey with in-depth interviews, their Spanish networks during this period, productions article “Hallyu 한류 in Spain: spectators, fanba- originally conceived by their creators for child ses and new forms of audiovisual consumption” audiences represented a smaller percentage of takes a pioneering approach to the analysis of the the total than those intended for an adult male communities of Spanish followers of the “Korean audience, despite the fact that the broadcasts wave”, their interests, motivations and consumer themselves invariably targeted children. The lack practices in our country, as well as the importan- of understanding among programmers of the ta- ce of digital media in the social consolidation of xonomy of genres and subgenres that make up the cultural phenomenon of Hallyu. For Deltell anime, added to the societal prejudice that viewed and Folgar, the influence of South Korean audio- animation as a product aimed solely at children, visual products is generating a radically different sparked controversy over the harmful nature of form of cinephilia unique to the digital era, where Japanese animated series, with the question of spectators participate in the development and ex- their popularity on Spanish television becoming pansion of content in an active and engaged way, the subject of alarmist discussions in national quite different from the traditional consumption newspapers. It was a controversy that emerged in of film and television narratives. The result is a other European countries as well, with repercus- new type of spectator who, far from being conten- sions and ramifications on other entertainment ted with the passive consumption of audiovisual products associated with Japan and erroneously productions, assumes an operative role in their identified with child audiences (e.g. video games). production and distribution, thereby forming a Beyond the contextual aspects of the debate, the creative social audience that organises, interacts anime boom in those years, both on national and and grows via social networks and media used by regional public television and on private networ- the “digital swarm” (e.g. Twitter, Facebook, Insta- ks (with Telecinco standing out in particular for its key relationship with the Italian market and the prior experience of broadcasting anime series THE RESULT IS A NEW TYPE in that country) turned commercial Japanese ani- OF SPECTATOR WHO, FAR FROM mation into a regular, recognisable product on the BEING CONTENTED WITH THE PASSIVE Spanish audiovisual landscape, with an enduring CONSUMPTION OF AUDIOVISUAL impact on the collective imaginary of several ge- PRODUCTIONS, ASSUMES AN OPERATIVE nerations, ultimately proving essential to the phe- ROLE IN THEIR PRODUCTION nomenon of the formation and consolidation of AND DISTRIBUTION communities of anime fans in Spain. L’ATALANTE 29 january - june 2020 12 EDITORIAL in Spain: Granada as a ludic world in the series THE NEW WAVE OF EXPRESSIONS Memories of the Alhambra” explores the intrinsi- OF SOUTH KOREAN AUDIOVISUAL cally playful way in which South Korean televi- CULTURE COEXISTS IN SPAIN WITH ITS sion drama visually appropriates the landscape FILM PRODUCTION. DESPITE HAVING of a city (supposedly Granada) converted into a CEDED SOME OF THE ATTENTION IN THE virtual setting for an augmented reality game SPECIALISED MEDIA, SOUTH KOREAN with a markedly Spanish character. Of special FILMS STILL MAINTAIN A STRONG interest is Rubio de Olazabal’s analysis of how PRESENCE AT THE SPANISH BOX OFFICE the dialogue between this ludic appropriation AND AT FESTIVALS and the cultural appropriation of the visual re- ferences and aspects most universally associated with Andalusian folklore and, by extension, with Spain as a whole. The series thus reinterprets gram, blogs, mobile apps, YouTube channels, etc.). the urban space through a complex repertoire of Particularly interesting is the approach that Del- overlapping worlds with their own time-frames, tell and Folgar take to these digital loci as spaces ranging from the fictional Granada in the story of counterpower where it is possible to construct to the ludified Granada in the alternative reality a network of sympathies and contacts between of the game that it inspired. In considering this spectators which, as they are not identified with process, Rubio de Olazabal explores the move- mainstream audiovisual language, find outside ment between the fictional real world and the the hegemonic narratives and musical forms not digital illusory world, which echoes on the ima- only a space for alternative entertainment, but a ginary plane the magic attributed to an idealised “form of cultural activism”. Deltell and Folgar thus city in an orientalising tableau vivant of mirages argue that the consumption of Hallyu by Spanish and ambiguities that are in turn reproduced in youth constitutes a clear case of resistance and the depiction of the characters and the plots counterpower against the global predominance that guide them. Worthy of special attention is of the American audiovisual industry, contribu- the view the author offers of the ludic-fictional ting substantially to the process of integration of textures that connect the game with the story the South Korean audiovisual imaginary into our of the series through a production which—both country. in its narrative and in its visuality—attempts to Emerging in parallel with the music move- convey the conventions of both genres, positing ment analysed by these authors is another of a blurry boundary separating “the primary and South Korea’s most popular cultural exports, the ludic worlds”, “the real and the illusory”, “sa- K-drama. Juan Rubio de Olazabal’s article explo- nity and madness”, ultimately pointing to the pa- res one of the popular titles distributed on the radox of a game that enhances reality in exchan- Netflix streaming platform, Memories of the Al- ge for reducing it. hambra (Jae-Jeong Son, TVN-Netflix: 2018). With The new wave of expressions of South Ko- locations inspired by the city of Granada, a glo- rean audiovisual culture coexists in Spain with bal tourist icon, this series offers an interesting its film production. Despite having ceded some of example of reverse Orientalism (Guarné, 2017) in the attention in the specialised media, South Ko- its exoticist and romantic representation of the rean films still maintain a strong presence at the construction of Spain in the South Korean ima- Spanish box office and at festivals, and the next ginary. “South Korean audiovisual production two articles in this issue deal precisely with the- L’ATALANTE 29 january - june 2020 13 EDITORIAL se points. In the first, Sonia Dueñas focuses on recognised by both critics and spectators, which the reception in Spain of the films of Yeon Sang- acts as a kind of positive sign that enhances the ho, a filmmaker of special interest for challen- appeal of South Korean cinema in Spain, which ging the limits of auteurship and conventional film festivals and exhibitions have also contribu- distribution with a career that has ranged from ted to, as analysed in detail in the next article. the mode of production of independent cinema Violeta Kovacsics and Alan Salvadó focus to that of the blockbuster. Dueñas examines how their attention on the programming structure of with Train to Busan (Busanhaeng, 2016), Yeon the Sitges Festival—one of the beacons of South Sang-ho has managed to make the leap not only Korean film production in our country—and its from independent animation to live-action cine- essential role not only in the reception and inter- ma, but also to mainstream cinema with a pro- pretation of “New Korean Cinema” in Spain, but duction (itself a metaphor for the homogenisa- in the categorisation and recognition of genres in tion of society) that seems designed to turn into a that cinema. Avoiding an abstract transcultural cult film. “Between independent cinema and the approach and taking the Sitges Festival as a case blockbuster in South Korea: Yeon Sang-Ho’s fil- study, Kovacsics and Salvadó explore the paratex- ms and their reception in Spain” approaches the tual system of the festival and its contribution to phenomenon of the South Korean blockbuster as the recognition of the idea of “New Korean Cine- a hybrid product that integrates the Hollywood ma” associated with the thriller, based on the iden- model of genre cinema and big special effects tification of a series of features that have come to with narrative elements closely associated with be viewed as idiosyncratic of Korean cinema, such South Korea’s national identity and recent his- as the way of depicting violence, the mixture of tory. His films feature actors who form part of black humour and drama, and the historical inte- a locally and regionally recognisable star system rrogation of the country’s recent past. “Made for and benefit from big budgets and effective mar- Sitges? The reception of the South Korean thriller keting strategies that in most cases have resul- in Spain through a case study of the Sitges Film ted in major commercial successes domestically Festival” explores how the paratextual promotion with an international impact as well. South Ko- of these elements has helped Spanish audiences rean animated films and their presence on Spa- to recognise a common style in a series of produc- nish screens are a different matter, as they come tions which, beyond auteurial and classical gene- in the wake of their Japanese counterparts, and ric qualities, prove difficult to classify. This pro- have thus been largely invisible to spectators, cess has in turn been reflected in the shift from a as has the participation of their valued profes- broad auteurial perspective to a more specialised sionals on internationally successful pictures genre-focused perspective in the assessment of whose production is outsourced to South Korean these films, in a shift directly related to the pro- studios. Of special interest is Dueñas’ conside- gression from “visibility to hypervisibility” that ration of the extent to which Train to Busan—an currently defines the presence of South Korea in exception due to its status as a zombie horror the Festival’s programming. Especially revealing picture in a context typically identified with the is the conclusion in the article that this shift has thriller genre—and other live-action and anima- in turn transformed the structure of the festival ted productions by the same director, released as itself, both directly and indirectly, through the supposed sequels or prequels thereto, have con- creation of specific sections like Orient Express tributed to the creation and consolidation of Sou- and Órbita, which have turned the thriller into th Korean cinema as a “quality brand”. It is a label a genre closely associated with South Korean ci- L’ATALANTE 29 january - june 2020 14 EDITORIAL nema, and South Korea into a country closely as- pect, Centeno examines the theory posited by sociated with the festival. Kovacsics and Salvadó other authors that despite the geographical re- thus describe a process of synergy that over the moteness of the conflict, Japan’s war with China last twenty years has given the Sitges Festival an served the Franco dictatorship to depict Japan as active role as an influencer in the adaptation of its Asian alter-ego in the global crusade against Spanish tastes to “New Korean Cinema”, while at communism. Centeno thus interrogates the foo- the same time establishing the festival itself as a tage not only in relation to their original context “place of transition and transaction” that has hel- but especially to the context of their reception in ped support the reception of South Korean films Spain, revealing an adaptive strategy whereby in our country. the correspondences with the pro-fascist dis- Finally, the Notebook section closes with a course of the Japanese imperial system gave way paper that explores the political use of the image to the traditionalist, National Catholic rhetoric of in the context of the War of the Pacific, to which the Franco regime, in a subtle effort of revisio- I referred at the beginning of this introduction, nism aimed at reconciling with the Allies in res- through an analysis of the reception in Spain of ponse to the new international geopolitical con- newsreels made in Japan about the war in Asia text after World War II. In this way, the constant in the 1930s and the early 1940s. For this topic, re-editing of images from Japanese war newsre- which has received very little attention in aca- els tuned this film footage into a kind of polyse- demic research, Marcos Centeno adopts a his- mous, contradictory palimpsest that ultimately torical approach in order to trace the circuitous tells us more about the needs and interests of the route of migration, distribution and recycling in totalitarian regime controlling Spain at that time our country of newsreel footage on the Japane- than about the conflict in Asia. se war in the context of the Spanish Civil War The Notebook section is complemented by and World War II. “Reediting the war in Asia: the Dialogue section, featuring two of the most Japanese newsreels in Spain (1931-1945)” offers important new voices in Spanish cinema: the a critical analysis of a series of images in which filmmakers Carla Simón and Celia Rico. Yasu- the representation of current affairs became a jirō Ozu and Hirokazu Koreeda are some of the powerful tool for social (de-)mobilisation at the names appearing in this conversation in which service of the constantly changing interests of Manuel Garin and Ferran de Vargas explore the the Franco dictatorship, which didn’t hesitate to influence of Japanese cinema on the filmography manipulate their interpretation, articulating a of these two Spanish directors, and especially on Falangist agitprop discourse that was reoriented their award-winning first feature films: Summer after the fall of the Axis Powers in the interests 1993 (Estiu 1993, 2017); and Journey to a Mother’s of legitimising the Francoist regime. In this res- Room (Viaje al cuarto de una madre, 2018). It is an open conversation in which the filmmakers reflect on their connection with Asian cinema, their contact with Japanese visual culture and THE CONSTANT RE-EDITING the contributions of films from Japan to the deve- OF IMAGES FROM JAPANESE WAR lopment of their perspectives in subtle and often NEWSREELS TUNED THIS FILM FOOTAGE unnoticed ways, in the composition of space, the INTO A KIND OF POLYSEMOUS, circulation of gestures and the portrayal of emo- CONTRADICTORY PALIMPSEST tions, and in the timing, rhythm and framing of their films. Simón and Rico unpack these ques- L’ATALANTE 29 january - june 2020 15 EDITORIAL tforms; the role of competitions and exhibitions A RECONSIDERATION OF in giving visibility to films from distant countries THE “GLOBAL/LOCAL” BINARY that still tend to be consumed in waves or fads; IN THE ANALYSIS the questioning of the idea of “peripheral film OF THIS PHENOMENON industries” in relation to productions that play a substantial role in the global renewal of audiovi- sual languages and narratives; the disconnect be- tween the films featured at the festivals and the tions in relation to their most personal interests bulk of audiovisual production in their respective as directors, ranging from family relationships, countries; and the role of cultural agencies, cri- childhood and loss to the tensions between city tics and niche audiences in their circulation and and country, the social pressure of gender roles reception in Spain, leading us back to a reconside- and the representation of economic and political ration of the “global/local” binary in the analysis concerns in the most intimate everyday details. of this phenomenon. Garin and de Vargas thus engage in an open dia- As always, this issue of L’Atalante closes with logue in which cinema itself is revealed to be an the various contributions to the Vanishing Points extensive, ongoing conversation between films section. A series of studies of titles as diverse as and filmmakers, continuously filtering the depic- The Wind (Victor Sjöstrom, 1928), Andrei Rublev tion of reality through the echo of the films that (Andrei Tarkovsky, 1966), Heart of Glass (Werner have influenced us. Herzog, 1976), Werckmeister Harmonies (Béla Tarr, Continuing with this exploration of the porous 2000), and Waltz with Bashir (Ari Folman, 2008) nature of our audiovisual production in relation thus close an issue that we hope will be of interest to its Japanese and South Korean counterparts, to our readers.  the (Dis)Agreements section brings together the people responsible for the most important fes- tivals for the screening of Japanese and South NOTES Korean films in Spain, with the aim of gauging the status of these films from the perspective of 1 This was not the first time that a Kurosawa film was these points of entry into the Spanish market. transposed to the Wild West. Another Western shot Quim Crusellas and Domingo López (director and four years earlier, The Magnificent Seven (1960), had programmer, respectively, of the Asian Summer taken another film by the Japanese director, Seven Film Festival in Vic, Catalonia), Menene Gras (di- Samurai (Shichinin no Samurai, 1954) and relocated it rector of the Barcelona Asian Film Festival), José in the American west, in this case after purchasing Luis Rebordinos (director of the San Sebastián the rights and casting big name actors. International Film Festival in Donostia, Basque 2 See Ritzer (1993; 2006); Ritzer and Malone (2000). Country) and Ángel Sala (director of the Sitges 3 See Bryman (1999, 2003, 2004). Film Festival in Catalonia) answer a series ques- 4 With Muecke and Thomas (2004). tions asked by Guillermo Martínez-Taberner and 5 With Chua (2008). Antonio Loriguillo-López about the circulation of 6 From this perspective, the GREGAL Japan-Korea-Ca- these films in our country, with topics as diver- talonia/Spain Cultural Circulation (SGR 2017 SGR se as the place they occupy in the festivals in the 1596) research group at the Department of Transla- context of a digital media boom marked by the ex- tion and Interpretation and East Asia Studies of Uni- traordinary popularity of video-on-demand pla- versitat Autónoma de Barcelona analyses the circula- L’ATALANTE 29 january - june 2020 16 EDITORIAL tion, reconfiguration and integration of the cultural, Chua B. H., Iwabuchi, K. (eds.) (2008). East Asian Pop Cul- linguistic and representational flows through which ture: Approaching the Korean Wave. Hong Kong: Hong Japan and South Korea, as strategic vectors, affect Kong University Press. and transform the Spanish social reality in globalising Craig, T. (ed.) (2017). Cool Japan: Case Studies from Japan’s processes on a planetary scale. Cultural and Creative Industries. Ashiya: BlueSky Pu- 7 With Lash and Robertson (1995). blishing. 8 Also Bukh (2014), Iwabuchi (2015), Tsutsui (2011), Wa- Daliot-Bul, M. (2009). Japan Brand Strategy: The Taming tanabe and McConnell (2008). of “Cool Japan” and the Challenges of Cultural Plan- 9 See Craig (2017); Chua and Iwabuchi (2008); Da- ning in a Postmodern Age. Social Science Japan Jour- liot-Bul (2009); Kang (2015); Kim (2007); Kim (2011); nal, 12 (2), 247-266. Kim (2013); Kuwahara (2014); Lie (2015); Lim, Ping and Featherstone, M. (ed.) (1990). Global Culture: Nationalism, Tseng (2016); Marinescu (2014) and Valaskivi (2013), Globalization and Modernity. London: Sage Pub. among others. Featherstone, M., Lash, S., & Robertson, R. (eds.) (1995). Global Modernities. London: Sage Pub. Ferguson, J. (1999). Expectations of Modernity: Myths and REFERENCES Meanings of Urban Life on the Zambian Copperbelt. Berkeley: University of California Press. Allen, M., R. Sakamoto (eds.) (2006). 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Japanese Horror Films and Their Ameri- can Remakes: Translating Fear, Adapting Culture. New York: Routledge. Yoon, T., Yong Jin, D. (eds.) (2017). The Korean Wave: Evo- lution, Fandom, and Transnationality. Lanham: Lexing- ton Books. L’ATALANTE 29 january - june 2020 20 EDITORIAL THE IMPACT OF JAPANESE AND SOUTH KOREAN EL IMPACTO DEL AUDIOVISUAL JAPONÉS Y AUDIOVISUAL PRODUCTION ON SPAIN: SURCOREANO EN ESPAÑA: CIRCULACIÓN, CIRCULATION, RECEPTION AND INFLUENCE RECEPCIÓN E INFLUENCIA Abstract Resumen In recent years, Japanese and South Korean audiovisual productions En los últimos años, las producciones audiovisuales japonesas y sur- have become an integral part of the Spanish social landscape, whi- coreanas han pasado a formar parte del paisaje social español al rit- le their global circulation has turned Japan and South Koreas into mo que su circulación global convertía a Japón y Corea del Sur en au- veritable cultural superpowers. In considering this idea, this intro- ténticas superpotencias culturales. En la consideración de este tema, duction offers a critical review of the main theories applied to the el artículo revisa críticamente las principales teorías aplicadas en el study of cultural globalisation, refuting notions that conceived of its estudio de la globalización cultural, refutando las tesis que habían development in terms of Westernisation and questioning the use- concebido su desarrollo en términos de occidentalización y cuestio- fulness of the global/local equation based on the worldwide impact nando la utilidad de la ecuación global/local a partir del impacto de of the Japanese and South Korean audiovisual cultures. From this las culturas audiovisuales japonesa y surcoreana a escala planetaria. perspective, I present the various contributions related to the circu- Desde esta perspectiva, se presentan las distintas contribuciones so- lation, reception and influence of Japanese and South Korean audio- bre la circulación, recepción e influencia de las producciones audiovi- visual productions in Spain that comprise the Notebook section of suales japonesas y surcoreanas en España que componen la sección this issue, which cover topics like commercial Japanese animation Cuaderno de este monográfico y que abarcan temas como la anima- on Spanish mainstream television in the 1990s, the hyperactive com- ción comercial nipona en la televisión generalista de los noventa, las munities of fans of audiovisual culture associated with Hallyu (“Ko- hiperactivas comunidades fans de la cultura audiovisual asociada a rean wave”), South Korean fiction available on Netflix that uses Spain la Hallyu («ola coreana»), la ficción surcoreana ambientada en nues- as its setting, the reception of the films by South Korean filmmaker tro país disponible en Netflix, la recepción de las obras del realizador Yeon Sang-ho, and the role of the Sitges Film Festival in the inter- surcoreano Yeon Sang-ho y el papel del Festival de Sitges en la in- pretation and recognition of “New Korean Cinema” in Spain, as well terpretación y reconocimiento del «Nuevo Cine Coreano» en España, as the political use of the image in the manipulation of Japanese war así como los usos políticos de la imagen en la manipulación de los newsreels during the Franco dictatorship. Finally, I outline the main noticiarios de guerra japoneses durante la dictadura franquista. Fi- points explored by the filmmakers Carla Simón and Celia Rico in the nalmente, el artículo traza las líneas principales desgranadas por las conversation contained in the Dialogue section, as well as the points cineastas Carla Simón y Celia Rico en la conversación recogida en la of view offered in the (Dis)Agreements section by the organisers of sección Diálogo, así como los puntos de vista expuestos en la sección the main film festivals presenting Asian films in Spain. (Des)encuentros por los responsables de los principales festivales de cine con presencia audiovisual asiática en España. Key words Japanese popular culture; Korean popular culture; Japanese cinema; Palabras clave Korean cinema; Cultural circulation; Reception; Cultural consump- Cultura popular japonesa; Cultura popular coreana; Cine japonés; tion. Cine coreano; Circulación cultural; Recepción y consumo cultural. Author Autor Blai Guarné is Associate Professor and Coordinator of the East Blai Guarné es profesor agregado (titular) de Antropología de Japón y Asian Studies Programme at the Universitat Autònoma de Barce- coordinador del Programa de Estudios de Asia Oriental en la Univer- lona (UAB), where he also serves as the Secretary of the CERAO sidad Autónoma de Barcelona, institución donde también es secre- (East Asian Studies & Research Centre) and leads the research group tario del Centro de Estudios e Investigación sobre Asia Oriental (CE- GREGAL: Cultural circulation Japan-Korea-Catalonia/Spain. He has RAO) e investigador principal del grupo de investigación GREGAL: been Visiting Fellow at the National Museum of Ethnology in Japan Circulación Cultural Japón-Corea-Catalunya/España (SGR 2017 SGR (Minpaku), Postdoctoral Scholar (in the Department of Anthropology 1596). Ha sido investigador postdoctoral en la Stanford University at Stanford University, and Visiting Researcher at the University of (Estados Unidos), investigador visitante en la Universidad de Tokio Tokyo. Member of several scientific committees and institutions he (Japón) e investigador invitado en el Museo Nacional de Etnología convened the Media Studies Section of the EAJS (European Associa- en Japón (Minpaku). Miembro de diversos comités científicos y or- tion for Japanese Studies), and he is the editor-in-chief and director ganismos académicos, ha coordinado la sección de Media Studies de of the book series Biblioteca de Estudios Japoneses (CERAO-UAB & la EAJS (European Association for Japanese Studies) y dirige la co- Ed. Bellaterra). Among his publications: the books Antropología de Ja- lección Biblioteca de Estudios Japoneses CERAO-UAB en Ediciones pón: Identidad, discurso y representación, Bellaterra, 2017; Escaping Ja- Bellaterra. Entre sus publicaciones destacan los libros Antropología pan: Reflections on Estrangement and Exile in the Twenty-first Century, de Japón: Identidad, discurso y representación, Bellaterra, 2017; Esca- L’ATALANTE 29 january - june 2020 21 EDITORIAL Routledge, 2018 (with Paul Hansen) and Persistently Postwar: Media ping Japan: Reflections on Estrangement and Exile in the XXI-Century, and the Politics of Memory in Japan, Berghahn Books, 2019 (with Ar- Routledge, 2018 (con Paul Hansen) y Persistently Postwar: Media and tur Lozano-Méndez and D. P. Martinez). Contact: Blai.Guarne@uab. the Politics of Memory in Japan, Berghahn Books, 2019 (con Artur Lo- cat. zano-Méndez y D. P. Martinez). Contacto: Blai.Guarne@uab.cat. Article reference Referencia de este artículo Guarné, B. (2020). The Impact of Japanese and South Korean Au- Guarné, B. (2020). El impacto del audiovisual japonés y surcoreano diovisual Production on Spain: circulation, reception and influence. en España: circulación, recepción e influencia. L'Atalante. Revista de L'Atalante. Revista de estudios cinematográficos, 29, 7-22. estudios cinematográficos, 29, 7-22. Edita / Published by Licencia / License ISSN 1885-3730 (print) /2340-6992 (digital) DL V-5340-2003 WEB www.revistaatalante.com MAIL info@revistaatalante.com L’ATALANTE 29 january - june 2020 22