The University of Tokyo
Interfaculty Initiative for Information Studies

Jason G. KARLIN, Ph.D
ジェイソン・G・カーリン

Professor

Gender Studies, Media Studies, Social Media, Computer Mediated Communication

Publications

CV

Teaching

Advising

Publications

Books

  • AKB48, co-authored with Patrick W. Galbraith (London: Bloomsbury, 2019).
  • Gender and Nation in Meiji Japan: Modernity, Loss, and the Doing of History (Honolulu: University of Hawaii Press, 2014).

Edited Books

  • Media Convergence in Japan (Ann Arbor, MI: Kinema Club, 2016). 
  • Idols and Celebrity in Japanese Media Culture (London: Palgrave, 2012).

Journal Articles

  • “The Gender of Nationalism: Competing Masculinities in Meiji Japan,” The Journal of Japanese Studies 28.1 (Winter 2002): 41-77. 
  • “Gender, Nationalism, and the Problem of Ideology in Women’s History,” Social Science Japan Newsletter 30 (December 2004): 5-7.

Book Chapters

  • “Introduction: At the Crossroads of Media Convergence in Japan,” in Patrick W. Galbraith and Jason G. Karlin, eds. Media Convergence in Japan (Ann Arbor, MI: Kinema Club, 2016), 1-28. 
  • “Precarious Consumption After 3/11: Television Advertising in Risk Society,” in Patrick W. Galbraith and Jason G. Karlin, eds. Media Convergence in Japan (Ann Arbor, MI: Kinema Club, 2016), 30-59. 
  • “Introduction: The Mirror of Idols and Celebrity,” in Patrick W. Galbraith and Jason G. Karlin, eds. Idols and Celebrity in Japanese Media Culture (Basingstoke: Palgrave Macmillan, 2012), 1-32. 
  • “Through a Looking Glass Darkly: Television Advertising, Idols and the Making of Fan Audiences,” in Patrick W. Galbraith and Jason G. Karlin, eds. Idols and Celebrity in Japanese Media Culture (Basingstoke: Palgrave Macmillan, 2012), 72-93. 
  • “Narratives of Heroism in Meiji Japan: Nationalism, Gender, and Impersonation,” in Andrea Germer, Vera Mackie, and Ulrike Woehr, eds. Gender, Nation, and State in Modern Japan (London: Routledge, 2014), 48-67.
  • 「近代日本の青年のバンカラと暴力」 (Japanese Youth Culture and the Rise of Male Primitivism and Violence in Modern Japan), in Katō Chikako and Hosoya Minoru, eds. 『ジェンダー史叢書、第5巻: 社会秩序の暴力、戦争』 (Gender History Series, vol. 5: The Social Order of Violence and War) (Tokyo: Akashi Shoten 赤石書店, 2009), 196-200.
  • “The Tricentennial Celebration of Tokyo: Inventing the Modern Memory of Edo,” in Yamaji Hidetoshi and Jeffrey E. Hanes, eds. Image and Identity: Rethinking Japanese Cultural History (Research Institute for Economics & Business Administration, Kobe University, 2004), 215-227. 

CV

Academic Positions

2022-Present

2012-2022

2008-2012

2003-2008

2002-2003

2001-2002

Professor, Interfaculty Initiative in Information Studies, University of Tokyo

Tenured Associate Professor, Interfaculty Initiative in Information Studies, University of Tokyo

Associate Professor, Interfaculty Initiative in Information Studies, University of Tokyo

Associate Professor, Institute of Social Science, University of Tokyo

Assistant Professor, Department of History, The University of Florida

Visiting Lecturer, Department of History, Michigan State University

Education

2002

1996

1992

Ph. D. in History, University of Illinois at Urbana-Champaign

M.A. in History, University of Illinois at Urbana-Champaign

B.A. in Asian Studies, University of Illinois at Urbana-Champaign

Other Professional Activity

2020-Present

2014-Present

2014

2008-Present

2003-2008

Editor and Web Designer, Japanese Media and Popular Culture

Advisory Board Member, InVisible Culture: An Electronic Journal for Visual Culture

“The World Hobbit Project” (with Martin Barker, Matt Hills, and Ernest Mathijis)

International Editorial Board Member, Social Science Japan Journal (Oxford UP)

Managing Editor, Social Science Japan Journal (Oxford UP)

Teaching

ITASIA 201: Introduction to Media and Communication (Lecture)

A1A2

(October-January)

This graduate-level introductory course provides an overview of developments and approaches to media and communication studies. The first half of the course is comprised of lectures that aim to demonstrate methodologies and approaches to media analysis. The lectures broadly cover the following four areas: political communication and journalism, mass culture and cultural studies, internet and networked communication, and globalization and media flows. The second half of the class will introduce approaches to social media and data analytics, including web scraping and data mining and the use of the software application Tableau for social media analysis and data visualizations. All lectures and readings are in English.

ITASIA 202: Introduction to Media and Communication (Discussion)

A1A2

(October-January)

This graduate-level course provides an overview of theories and methodologies in media and cultural studies. Through a discussion of important works and scholars in media and cultural studies, the class aims to establish a foundation for understanding current theoretical and methodological approaches to the study of political communication and journalism, mass culture and cultural studies, internet and networked communication, and globalization and media flows. All classroom discussion and readings are in English. 

ITASIA 221: Gender and Media Theory

S1S2

(April-July)

This graduate seminar explores recent developments in the field of gender and sexuality studies. In the era of #MeToo, intellectual approaches to gender relations have moved away from their earlier theoretical emphasis to a greater concern with social practice and redress. Our understanding of gender and sexuality today are shaped by such key concepts as consent, rape culture, privilege, and intersectionality. Moreover, forms of discrimination and social injustice are now experienced as data bias and contested through forms of digital feminist activism. The readings in this class focus almost exclusively on recent works in the field and draw on specific case studies from East Asia.

ITASIA 222: Social Media, Computer-Mediated Communication, and Mediated Publicness

S1S2

(April-July)

As we increasingly come to live our lives online in digital mediated spaces, the image of the self becomes more plastic, performative, and contingent. Anthony Giddens argues that the self in post-modernity becomes a reflexive project—an enterprise that we work and reflect on in order to fashion the story of who we are, how we came to be, and what we hope to become. Like celebrities in film and television, we have become the performers of our own lives for dispersed audiences across multiple media platforms. In the process, the distinction between our public and private lives becomes increasingly difficult to maintain, necessitating, like public relations, the careful management of our self-image. Our followers and friends become the audience in a staged performance that demands the constant cultivation of attention through self-disclosure, exhibitionism, and emotional labor. In digital spaces—with the intimacy of communication mediated by platforms, algorithms, and interfaces—how do we express feelings and immediacy, pursue social and relationship goals,  or understand politics and world events? What impact does living our lives online have on our identity, self-esteem, communication, and sense of community? In this assemblage of the human and non-human, how are the social affordances of technology shaping our posthuman futures?

ADvising

Doctoral Dissertation Direction

  • Alexandra Hambleton, “Consuming Pleasures: Women, Sexuality, and Postfeminism in Post-Growth Japan,” The University of Tokyo, 2017.

Current Ph.D. Candidates

  • Adrienne Johnson
  • Miranda Larsen
  • Jia Yang
  • Jiaxi Hou
  • Frédéric Seraphine
  • Junxiao Leng
  • Tommaso Barbetta

Masters Thesis Direction

  • Michelle Ho, “Japan’s Gendered Morning Television: Housewives, Social Identity, and ‘Wide-Show’ Infotainment,” 2012.
  • Hui Chong Yong, “Fukushima on 24-Hour Television News: A Case Study of News as Narrative in Crisis Coverage,” 2012.
  • Cathleen Paras, “Informal Media Economy and Remediation: Fansubbing of Japanese Dramas in the Philippines,” 2013.
  • Kai Okudara, “Idol Chatter: A Cross-Platform Analysis of Celebrity Social Media Usage in Japan,” 2013.
  • Elitza Koeva, “A Different Space: A Globalising Architectural Firm in Contemporary China,” 2013.
  • Mizhelle Agcaoili, “Bickering Bitches: An Analysis of Representations of Japanese Femininity through Celebrity,” 2014.
  • Fengming Ni, “Rotten Girls in Love: Funü, Fantasy, and Female Sexuality in Contemporary China,” 2014.
  • Christopher St. Louis, “For Your Protection: State Surveillance and Narratives of Risk in Contemporary Japan,” 2014.
  • Mario Rico Florendo, “Hoops and Dreams: Analysis of Kuwentong Gilas Narratives and National Identity in the Philippines,” 2015.
  • Tiffany Lim, “All the Internet’s a Stage: Online Photo-Sharing as a Performance of Self-Esteem and Impression Management in the Filipino Cosplay Community,” 2015.
  • Emma Winthrow, “Behind the Camera, In Front of the World: YouTube Vlogs and Messages of Japan to the West,” 2016.
  • Xuguang Li, “The Next MOOC Through the Lens of Gamification: A Study of Chinese Users,” 2016.
  • Heqi Qiu, “Audience Reception of Micro-Celebrities on Weibo: Urban Users’ Following Behavior of Micro-Celebritites and Its Influences on Their Buying Decisions,” 2016.
  • Nicole Hasbum, “Social Media and the Tourist Experience,” 2017.
  • Siyan Zhao, “Making Sense of Japanese Violence: Chinese Audience’s Reading of TV News Reports of the Sagamihara Stabbings,” 2017.
  • Jiaxi Hou, “Chinese Participatory Culture on a Danmaku Website: Technology, Content, and Interactivity,” 2017.
  • Liron Afriat, “Fight Like a Girl: Cosplay in the Work-Life Balance of Japanese Female Cosplayers,” 2018.
  • Yue Yang, “From Phoenix to Dragon: Tsai Ing-wen’s Branded Femininity on Social Media,” 2019.
  • Chencheng Qian, “Fascination or Discrimination: The ‘Occidental’ Accent in Japanese TV Commercials,” 2019.
  • Harley Harrer, “Multicultural Future: An Ethnography of Gaijin Drag Queens in Tokyo,” 2020.
  • Liisi Tagel, “’‘What If I Will Be Single Forever?’: Discourses of Female Singleness in Japanese Women’s Magazines,” 2020.
  • Yechen Yu, “The Archive of Our Own: Between Platform and Infrastructure,” 2020.
  • Andrew Z Le, “Does the Party Ever Stop? Rethinking Regulation and Resistance of Tokyo Nightclubs,” 2020.
  • Chujun Zhao, “Only Fans Can Understand? Television in the Age of Social Media,” 2020.
  • Jiani Liu, “Conflict and Camaraderie in Women-Only Space: Investigating Japanese Joshikai,” 2020.
  • Sisi Gu, “The Contemporary “Happy Housewife Myth”: Japanese Housewife Ideal and Commercialized Domesticity on YouTube,” 2020.
  • Xueqin Lu, “Neoliberal Feminism and Consumerism in Contemporary China: A Discourse Analysis of the ‘Straight Male’ on the Chinese Internet,” 2021.
  • Sabah Merchant, “‘Do Your Best!’: Representations of Ganbaru in 21st-Century Sports Manga Franchises,” 2021.
  • Callum Sarracino, “The Omegaverse: Canine Zoomorphism in Homoerotic Media,” 2021.
  • Rongqiu Jin, “Socializing Through Music: Chinese Online Music Platforms in the Streaming Era,” 2021.
  • Chan Gao, “Childhood Aesthetic Education in the Rural Vitalisation of China: Understanding “Place” in Xiuwu County, Henan Province,” 2022.
  • Antonia Beatrice Dans Lee, “Weathering the Storm: Understanding the Process of Identity Negotiation Among Fans Following the Loss of a Fan Object,” 2022.
  • Chenyu Zhao, “’Unruly’ Housewife YouTubers in Japan: Changing Representations of Gender, Domesticity, and Family Structure,” 2022.