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‘‘Cinderella is really being a burikko ’’. Agasa, Ugly Chick Inspection: Understanding your ugly chickness using psychological tests (Tokyo: H omusha, 2007). Reproduced with permission of H omusha.
Citations
... Cinderella weight digagas oleh Klinik Kecantikan Takano Yuri pada tahun 1990 ketika klinik tersebut pertama kali mengadakan kontes kecantikan yang dinamakan, "Aesthetic Cinderella Grand Prix". Pada kontes ini, peserta menimbang berat badan selama empat kali dalam sehari dan yang berhasil menurunkan berat badannya secara drastis dalam kurun waktu tiga bulan yang menjadi pemenangnya (Miller, 2008 Di YouTube, banyak beredar video wawancara dengan perempuan di Jepang mengenai diet, tinggi, dan berat badan yang menurut mereka ideal. Beberapa diantaranya akan digunakan untuk penelitian ini, yaitu video yang diunggah oleh kanal YouTube Ask Japanese, sebuah kanal YouTube yang telah ada sejak tahun 2014 dengan 481.000 subscribers dan telah mendapatkan total views sebanyak 91.283.311. ...
As a result of the "kawaii" trend, having a slim body has become one of the beauty standards coveted by young Japanese women. One of the latest diet trend in 2016 and 2018 was the Cinderella weight, a weight standard that is considered as dangerous because the weight count is below the healthy BMI (Body Mass Index). This research was conducted using descriptive qualitative methods and video interviews from the Ask Japanese YouTube channel (2016, 2020, and 2022) regarding Cinderella weight and ideal body weight of young Japanese women were taken as the main data sources. The Theory of Social Construction of Women's Bodies by Sandra Lee Bartky (1990) was used to analyze this phenomenon and prove that beauty is a form of social construction. It was found that numerous of them idealizing Cinderella weight and being slim is still the desire of the majority of young Japanese women. The role of social media and mass media, which feature many female models and artists who are slim also inseparable for the influence.
... Laura Miller notes the propensity of the title's use in other films, television shows and novels, arguing that 'Cinderella is used to denote individual agency to overcome obstacles or to achieve one's dreams' . 51 This is certainly borne out by responses collected by Wakakuwa Midori, who asked her female students to write essays about what Cinderella meant to them. 52 'For many of the women, the story of Cinderella represents the belief that one should seek one's cherished desires for the future. ...
In some respects the Allied occupation of Japan from 1945 to 1952 would appear to be a relatively straightforward kind of occupation, which could be characterized fairly simply as 'a form of government imposed by force or threat thereof'. Following the atom bombing of Hiroshima and Nagasaki in August 1945, which ended a protracted and widespread military campaign of fifteen years in East Asia and the Pacific region, Japan was extremely vulnerable to further force, or the threat of force, from the victorious Allies. Prominent historians such as John Dower have argued that the citizens of postwar Japan even embraced defeat. The Allied occupation of Japan, lead predominantly by US forces (except in Hiroshima, Tottori, Okayama, Shimane, Yamaguchi and the island of Shikoku), is popularly understood as a successful example of occupation, laying the ground for a special relationship between Japan and the United States for decades to come.
... As a result, women care about beauty as the main factor in pleasing a man (Su & Xue, 2010). Today, the beauty industry is regarded as one of the areas where self-transformation through the Cinderella image is found (Miller, 2008). ...
Cinderella syndrome is a concept which is used to define woman who fear from being independent. Women with Cinderella syndrome are in the need of men’s refuge and protection. The syndrome is like a psychological dependence for women and in this dependence, situation being patient and moral is important for being rescued by a man as a reward. In the syndrome women expect a man to come and take control of their own lives so that they can live happily. The aim of the study developing a scale into Turkish culture to determine the level of Cinderella Syndrome in females. The Cinderella Syndrome Scale is a 5-point Likert Type scale which includes 25 items. Exploratory factor analysis (EFA) was conducted to define construct validity and three factors were determined, called “sexist attitude”, “escape from responsibility” and “quitting career”. According to EFA, three factors describe 54,69 % of the variance. Results of EFA were validated by confirmatory factor analysis (CFA). The Cronbach’s alpha was found as .94 for the total scale.
... As a result, women care about beauty as the main factor in pleasing a man (Su & Xue, 2010). Today, the beauty industry is regarded as one of the areas where self-transformation through the Cinderella image is found (Miller, 2008). ...
Cinderella syndrome is a concept which is used to define woman who fear from being independent. Women with Cinderella syndrome are in the need of men’s refuge and protection. The syndrome is like a psychological dependence for women and in this dependence, situation being patient and moral is important for being rescued by a man as a reward. In the syndrome women expect a man to come and take control of their own lives so that they can live happily. The aim of the study developing a scale into Turkish culture to determine the level of Cinderella Syndrome in females. The Cinderella Syndrome Scale is a 5-point Likert Type scale which includes 25 items. Exploratory factor analysis (EFA) was conducted to define construct validity and three factors were determined, called “sexist attitude”, “escape from responsibility” and “quitting career”. According to EFA, three factors describe 54,69 % of the variance. Results of EFA were validated by confirmatory factor analysis (CFA). The Cronbach’s alpha was found as .94 for the total scale.
... In Japanese advertising since 1952, Laura Miller (2008) notes, "Cinderella is used to denote individual agency to overcome obstacles or to achieve one's dreams" (394). This is consistent with the Occupation policy of supporting the importation or creation of film texts that model democratic tropes such as independence, aspiration, and agency. ...
During the Allied Occupation of Japan (1945-1952), female audiences, particularly children and teenaged girls, became the market for censored cinema content designed to support the democratic re-education of the Japanese populace. Early postwar cinema characters and narratives modeled the new rights and powers becoming available for women in Japan in the years after the 1947 Constitution. An ethnographic approach gives a conflicted picture of the cinema audience who viewed these narratives, demonstrating that an easy inference of mass female viewership from female-oriented film content, marketing, and censorship is not supported by the memories of female viewers. To better understand the complicated relation of young female audiences to Occupation-era cinema and its censored content, this article analyzes the memories of a number of female viewers who engaged with the cinema and its stories between 1945 and 1952.
... Here we might notice some similarities between sho ¯ jo and the Japanese concept of " kawaii, " often translated as " cute, " which was, as Laura Miller (2011: 24) has convincingly argued, often a male creation but has been maneuvered by girls and women. As we shall see, this subtle inversion of " passivity " to denote individual agency is more or less still evident in contemporary Japanese culture, where, for example, the fairy tale of Cinderella, which has frequently been coded as symbolic of passive femininity, is instead interpreted as " a strong message of self-transformation and individual achievement in the Japanese setting " (Miller 2008: 393). Another aspect that is closely connected to the aesthetic of sho ¯ jo femininity is decorative sartorial items. ...
The popularity of classical ballet as a cultural form grows apace in a global context. Even in a country like Japan, which has not been previously identified as a “ballet capital,” it is receiving wide public attention. As a conventionally female-dominated arena, ballet and the ideas that circulate around it reveal the complex interrelationship between femininity, beauty, and selfhood. A prime example is the understudied genre of “ballet manga” in Japanese Shōjo Manga culture.With the first examples published in the mid-1950s, the history of ballet-themed manga reveals that, particularly in the years following the Second World War, ballet was the epitome of a dream world, connoting luxury, beauty, and glamour. “Ballet manga” used this particular art form, its costumes, and romanticized, almost fairy tale-like settings of Old World Europe as a mix of femininity, rigor, and elegance remade for Japanese audiences. Since the 1970s, some authors have attempted to combine this imagery of ballet with the idea of feminine independence and agency, thus negotiating the paradox of reality and fantasy in lived experience. Ballet, therefore, is not presented simply on the stage but in Japan is frequently interpreted/experienced through Shōjo Manga. This distinctive situation deserves closer scholarly investigation.
... Apart from this vary fact, females are still considered to be more inclined towards use of these products. Even since early nineteen century, definitive beauty is portrayed with a female character "Cinderella" in every culture extracted from Chinese primitive tales (Miller, 2008). It's a natural phenomenon to enhance physical appearance in order to get attraction (Adams, 1977) so same is true for Pakistani female as well because here also females are inclined to use rigorously all beauty care products including hair, body and face care products. ...
... Es la llegada de los fans internacionales que no sólo marcan las pautas de diferenciación con los fans "veteranos", sino que los colocan bajo entornos de consumo cosmopolita, que se ejemplifica en la manera como la cultura popular japonesa ha llegado a muchos jóvenes fans de occidente que cotidianamente consumen sus productos mediáticos e integran en sus vidas los mismos patrones y estilos de lo que hacen los jóvenes en Japón, no solamente los hombres, sino las mujeres jóvenes (Yoonah Bae, 2008;Miller, 2008), con lo cual se vislumbran nuevas tendencias en las relaciones de género, y en las subjetividades de las mujeres jóvenes en occidente (Braidoti, 2009), donde los relatos, imágenes y música de la nueva cultura popular mediática son una interfaz entre sus condiciones de vida, sus experiencias, sus procesos particulares de individuación (Walkerdine, 2006). Se puede percibir el interés de Jenkins (2009: 170) por incorporar en el estudio de los fans "un nuevo cosmopolitismo, consistente en compartir conocimiento a escala mundial", propiciado por la convergencia de medios en la vida de los fans, un fenómeno con implicaciones amplias, como los impactos en la relación entre lo nacional y lo local, otra manera de estructurar y organizar la vida social por el acceso a los bienes culturales que se convierten en la pauta para una "transnacionalidad multilocal", un marco de vida donde, como expresa Ulrich Beck (2001: 238), la gente "está unida a varios sitios al mismo tiempo", una vida nómada, en construcción y experimentación continua, ya que esos "modos de vida polígamos respecto a los lugares son biografías traducidas: tienen que ser traducidas constantemente para uno mismo y para los demás, con el fin de que puedan seguir siendo vidas intermedias". ...
El libro de Henry Jenkins, Textual Poachers, está por cumplir veinte años de haber sido publicado. A nivel mundial, Jenkins se ha venido estableciendo como un autor de referencia ante las transformaciones en la cultura y en los medios de comunicación a partir de la publicación reciente de algunos de sus libros, en los cuales re toma lo que fue la parte central de su primer libro, los fans. Consideramos que es útil revisar Textual Poachers, porque además de que es el antecedente de sus recientes libros, el tema de los fans ha llegado a tener una importancia dentro de los desarrollos de las identidades y subjetividades de las culturas juveniles, la conformación de audiencias en la era de lo digital e interactivo. Además, porque a partir del libro se puede revisar la manera como se altera el modelo comunicativo cuando el consumidor se hace creador y participa en la creación de cultura mediática.
