This study reevaluates the significance of the Ainu in U.S.-Japan relations. Specifically, the study emphasizes a trilateral configuration of relations among the Japanese, Americans, and the Ainu in Hokkaido, the northern island of Japan, in the period since the middle of the nineteenth century. By analyzing a wide range of documentary, visual, and material sources available in the United States and Japan, the study discusses specific connections that existed between the Ainu, Americans, and the Japanese in the nineteenth and twentieth centuries. Some were direct encounters. Other forms of relationship involved indirect connections. These encounters affected the social and historical consciousness of the Japanese and Americans in the past and which continue to do so today.;By reclaiming the presence of the Ainu in the vision of the past, this dissertation enlarges the terrain of the intercultural history of the United States and Japan. It recognizes the Ainu as a significant third party in third history of U.S.-Japan relations and questions the conventional historical framework used in the understanding of the U.S.-Japan relationship, a framework which has marginalized and even excluded the Ainu. By inserting the Ainu into our constructions of past and present human relationships in Hokkaido, the dissertation complicate and problematizes the very framework of the conventional understanding of the relationship between the two nations by pointing to the integral role the Ainu have continuously played on the various stages of cultural interaction in the northern island of Japan.

Due to critical flaws in the existing studies, this study advances a new theory--the theory of controlled commodification--for the analysis of media and culture in the peripheral capitalism of Singapore. Since political independence, the state in Singapore has pursued a developmental policy based on the principles of the market economy that has given rise to its newly industrialized status. It promotes the development of the capitalist institutional framework, structures, and practices for the commodification process, yet restricts the process where it pertains to the flow of commodities effected through the exchange mechanism of the marketplace. The critical manifestation of this fundamental contradiction is in the media-cultural terrain. The existing approaches, in failing to grasp or address this contradiction, have provided a theoretically inadequate account of Singapore's media and culture. Thus they are overly narrow or localized (as in the works of media freedom, development media, and communication developmentalism) or overly broad or globalized (as in the cultural dependency perspective) or ahistorical in treating the convergence and conflict of the local-global forces (as in Galtung's structural theory of imperialism). The theory of controlled commodification is premised upon a historical appreciation of the local-global articulation of the commodification process within such peripheral capitalism as Singapore. Constructed from the two Marxian media-cultural approaches of Western Marxism and the Marxian political economy, the theory assumes the centrality of the (Singapore) state--as a managerial state for (global) capital--in the constitution of media operating as a commercial, profit-oriented institution in a market economy. Adopted for the analysis of Singapore's print and electronic media, together with its politics and culture, the theory of controlled commodification sheds the much needed light on the intricate relationship between state control of media and culture, on the one hand, and the commodification process, on the other--i.e., the very contradiction of peripheral Singapore, itself. Although controlled commodification is developed specifically in relation to Singapore, its theoretical thrust is argued to be applicable to other peripheral capitalism as well.

This senior thesis studies the character and influence of a young American naval officer and diplomat. George Clayton Foulk, the 1st Naval Attaché to the United States Legation and the 2nd U.S. Minister to Korea, brought his intellectual ability and passion to this East Asian country. He hoped for Korea to become an independent, modernized state. Due to the strong Chinese opposition and lack of assistance from the U.S. government, Foulk failed to realize his dream and left Korea in disgrace. However, his service instilled a positive image of America in the minds of many Koreans. By closely examining his letters and journals, this thesis brings an image of a cosmopolitan who expressed genuine understanding of and sympathy for Korea. More importantly, this thesis introduces his vision that America must become an exceptional country which spreads its values across the world through peaceful means. Even today, the clash between Foulk’s idealism and the realpolitik of Washington policymakers raises a question on the future of American diplomacy.

This thesis is a critical reflection on Vision Machine's North Sumatran film project, articulating a cinema practice that seeks to address a genocide that has barely been investigated. The primary footage comprises extensive interviews, re-enactments and dramatisations of the various practices and procedures that constituted the core of the 1965-66 Indonesian genocide in Sumatra's plantation belt. The participants in these dramatisations and enactments are, for the most part, death squad leaders and members who participated in the killing. This data, comprising over 100 hours of video, constitute revelatory primary research into the history and operation of the Indonesian genocide. This research forms the historical context for the project, and is therefore summarised in the thesis. The reflection on the epistemological, cultural and historical status of these re-enactments constitutes the basis for the core argument of this thesis. To this day, in North Sumatra, the genocidaires remain largely in power. This fact transforms our film project into a unique laboratory for exploring the cultural politics of film, media and history within a context of victory and impunity. Specifically, the project examines the ways in which historical narrative - inevitably told by victors - becomes an instrument of terror within a spectral economy of terror. This project is both an intervention into this economy, as well as an analysis of its mechanisms and protocols. As such, the thesis comprises both completed films, extracts from works-in-progress and this writing, and lies at the intersection of the disparate fields of cinema studies, Indonesian area studies, trauma studies and film practice. This thesis proposes a theory of performativity, spectrality and genres of historical performance; specifically, it is argues that spectres are performatively conjured as the obscene to any symbolic performance - including both historical acts as well as their rehearsal and restaging in re-enactment, testimony, or dramatisation; such spectres constitute a power that may be claimed by the performer. This power interacts with actual structures of power, as well as processes that seek to record, circulate or excavate such historical performances, including our filmmaking process. In the case of this film project, perpetrators are lured by the apparatus of filmmaking into naming names and revealing routines of mass murder hitherto obscene to official histories, and they do so through dramatisations and re-enactments manifestly conditioned by the codes of film and television genres. This latter point reveals the complex ways in which remembrance is always already well-rehearsed, scripted and generic. Thus does the research excavate (by catalysing) perpetrators' performative use of film genres to conjure as a spectral force that which must remain obscene to the codes of genre. And thus does the research excavate (by miming) the way genre fashions historical narratives into instruments of terror. As perpetrators of the genocide name names and reveal secrets, the process by which they seek to claim and manifest their spectral power is short-circuited by the filmmaking process, which condenses a miasmic spectral into specific ghosts. By shorting one circuit, the filmmaking closes another through which the process of remembrance, working through and redemption may begin for survivors. From this emerges an understanding of both the filmmaking process and its products (i.e., the completed films) as filmic interventions into a spectral economy of terror. This thesis describes a film practice that is necessarily a social practice, at once producing works and doing work. Building on models of collective filmmaking developed by Jean Rouch and George Stoney, we incorporate experimental production techniques including spirit possession, re-narration, infiltration, and genre-based fiction filmmaking in order to define a new model for film production that the author has termed "archaeological performance". Moving beyond the interview-based approaches of Lanzmann and Ophüls, archaeological performance suggests a hybrid and interventionist form of cinema adequate to addressing a history whose very incoherence has served as an instrument of terror.

<p>The dominant narrative mode in Ainu studies today stresses an activist agenda that, although worthwhile, limits the potential for new research in the field. In this thesis, I analyze historical accounts of the development of Ainu bear carvings as a case study of the characteristics of the dominant activist mode and present an alternate narrative in order to demonstrate the need for a variety of approaches to Ainu research. </p><p> The activist narrative mode is structured to engender sympathy for Ainu people and respect for their cultural heritage. Activist accounts of Ainu bear carvings often claim that the carvers were pressured by the Japanese tourist industry to violate religious taboos against producing realistic depictions of bears. In this way, the carvings serve as a symbol of oppression of Ainu people under Japanese imperialism. At the same time, activist scholars state that the Ainu bear carvings followed a linear progression from tourist souvenirs to respected works of &ldquo;fine art.&rdquo; Thus, the carvings also reinforce optimistic projections regarding the future status of Ainu culture and socioeconomic condition. </p><p> My alternate narrative focuses on the complexities and ambiguities in the field and avoids judging events in moral or sympathetic terms. I explore a broad range of contextual issues, tracing the regional production of wooden bears from the paleolithic ancestors of Ainu people, examining the role of bears and woodcarving in Ainu culture, analyzing Ainu interactions with Japan, Russia, and other neighboring empires, and investigating the commodification of bear carvings as tourist souvenirs. </p><p> Activist narratives have contributed a wealth of valuable research to the field of Ainu studies and remain a useful tool for promoting social and cultural equality for Ainu people. However, automatic conformity to the dominant activist mode perpetuates the obfuscation of certain details in Ainu history, including the diversity within Ainu and Japanese cultures and institutions, instances of political cooperation between Ainu and Japanese communities, and unanswered questions regarding the complex development of Ainu cultural practices and beliefs. Although any historical account (including this thesis) inherently simplifies its subjects, varying our narrative approach helps us to identify and fill some of the gaps. </p>

<p>Piracy around the Malay Peninsula during the 19th century was extraordinarily prevalent and resulted in the death and loss of liberty for an untold number of people. This essay examines the connections between the piracy of this era and the political economies of the Straits Settlements and the Malay states in the region. Malays pirates often had the support of local rulers who required the goods and slaves brought back by pirates to reinforce their own political and socio-economic positions. The piratical system supported by the rulers was a component of the overall Malay economic system known as kerajaan economics, which helped maintain the status quo for Malay states. This system came under threat once Great Britain and the Netherlands worked to suppress piracy in the region and helped persuade the Malay elite to phase out state-sanctioned piracy. Some people living in Malaya took advantage of the characteristics of British and Malay political economies to engage in acts of piracy regardless of the policies of the British and Malay governments. This study of piracy enables us to understand better the experiences of people of various backgrounds living in 19th-century Malaya, along with how piracy influenced their worldviews.

Drawing on primary sources in Chinese, Japanese, and English, my doctoral dissertation investigates the structure and development of maritime order in East Asia against the backdrop of the Cold War. It covers the period from the collapse of the Japanese empire in East Asia in 1945 through to the point when the United States broke off its official diplomatic relations with Taiwan in 1979. By shifting the spotlight from land to sea, my dissertation challenges the conventional understanding of the Cold War in East Asia by illustrating the relationship between the geopolitical value of the sea and decision makers' strategic deliberations. I present the sea as a historical platform to examine US maritime policy in East Asia in three broad contexts: military, international law, and exploration for natural resources. In terms of the military dimension, my study argues that the US shifted its maritime strategic focus from the Atlantic to the Pacific in the 1950s. This development was symbolised by the establishment of the Pacific Command in 1947 as well as changes in its organisational structure for maintaining sea routes during the crises of the 1950s - including the Korean War and the 1954-1955 Taiwan Strait Crisis. To supplement my argument about the military dimension of US maritime policy, I further investigate the establishment of international maritime law and the exploration of underwater natural resources, to depict the dynamic role that seas played in grand strategic thinking when crafting US policy in East Asia. My research argues that the clashes over maritime sovereignty between East Asian allies such as Japan, Taiwan, and South Korea led the US to refrain from taking a dominant stance in areas such as the demarcation of maritime boundaries and offshore oil development. This formed a crucial part of US strategy in balancing conflicting interests within its hub-and-spoke alliance system in East Asia. However, US-China rapprochement during the 1970s led to a change in Washington's maritime policy. For US decision-makers, the sea temporarily ceased to be a strategic space for containing China, but rather served as a platform for signalling goodwill.

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" america.jp" explores identity, nationalism, and power on the Internet between 1969 and 2000 through a cultural analysis of Internet code and the creative processes behind it. The dissertation opens with an examination of a real-time Internet Blues jam that linked Japanese and American musicians between Tokyo and Mississippi in 1999. The technological, cultural, and linguistic uncertainties that characterized the Internet jam, combined with the inventive reactions of the musicians who participated, help to introduce the fundamental conceptual question of the dissertation: is code a cultural product and if so can the Internet be considered a distinctly "American" technology?;A comparative study of the Internet's origins in the United States and Japan finds that code is indeed a cultural entity but that it is a product not of one nation, but of many. A cultural critique of the Internet's domain name conventions explores the heavily-gendered creation of code and the institutional power that supports it. An ethnography of the Internet's managing organization, The Internet Corporation for Assigned Names and Numbers (ICANN), investigates conflicts and identity formation within and among nations at a time when new Internet technologies have blurred humans' understanding of geographic boundaries. In the year 2000, an effort to prevent United States domination of ICANN produced unintended consequences: disputes about the definition of geographic regions and an eruption of anxiety, especially in China, that the Asian seat on the ICANN board would be dominated by Japan. These incidents indicate that the Internet simultaneously destabilizes identity and ossifies it. In this paradoxical situation, cultures and the people in them are forced to reconfigure the boundaries that circumscribe who they think they are.

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