CITY UNIVERSITY OF HONG KONG 香港城市大學 ecute! The Evolution and Impact of Cute Culture on Social Media 可愛文化的演進與數位傳播的交互影響 Submitted to School of Creative Media 創意媒體學院 Thesis submitted in fulfillment of the Requirements of the Degree of Doctor of Philosophy 哲學博士學位 by Yang Yi Hsuan 楊宜瑄 September 2013 二零一三年九月
i Abstract The world is getting cute! Nothing is safe from the cute invasion it is socially and culturally contagious: From subway trains to airplanes; from police station to commercial banks; and from educational pamphlets to public warning signs, cute little characters in all imaginable, or surprising, forms and shapes are everywhere, attracting your attention, offering you help, and if nothing else, acting like ambassadors simply smiling at you cheerfully. With the wide availability of the Internet, and especially the ubiquitous mobile computing, 4G mobile communications technology and social networks, nowadays, cute signs embodied as emoticons are rapidly extending their reach in cyberspace, roaming our blogs, instant messengers, social media, emails and mobile messages, and social agents in our daily interactions. Visually cute symbols and graphics are natural lubricant in virtual social interactions and conducive to establishing mutual understanding. Since the 1970s, Japanese Kawaii (Cute) culture has dramatically gained worldwide popularity. With the emergence of Web 2.0 in the 21 st century, we are in an information revolution that is more extensive, profound and significant than Gutengerg s invention of the Western printing process; and for the first time in history, we have almost limitless access to information and means to near real-time personalized interaction aided by a plethora of the ever-popular cute emoticons that are swelling in number by the minute. In addition, as a pioneering visual approach to e-communication, Kawaii has a strong impact on digital literacy. What is the underlying meaning of this new phenomenon? What makes cuteness irresistible to consumers? How has Kawaii culture evolved from product ornaments to its new role in Web 2.0 and mobile life style? What type of new literacy on the Internet is it enabling? What are the differences between the more traditional text-based and graphical cute symbols in communication? How does cuteness affect user identities, education and social lives in the increasingly mobile era the post-web era? What are their implications in commerce? Although numerous scholars are aware that Kawaii is no longer a term associated merely with Japanese local art or Manga, there have been little detailed research to tackle these questions. In this dissertation I will explore the Kawaii cultural phenomenon and discuss its i
ii impact and influence on social interaction in the era of the personal web and mobile communication. Basing on linguistic theory, I will also investigate the linguistic rules of comics and Comicons in online communication. I will examine the semantic richness in the Kawaii visual culture, Japanese comic language and e-literacy. Furthermore I will study the connection between Kawaii and user-generated emoticons, e.g., Emoticons 2.0 or Comicons, and the shifting social meanings, ideology and functions of cuteness. Through this study I will show that an important and influential new visual communication language, Cutemmunication, has emerged and is becoming an integral part of and a significant form in human interactions; and consequently plays an important role in helping bridge the gap between cultures and societies that are increasingly on the move. Key Words: Cuteness, Comicon, Kawaii, Manga, emoticon, semiotics, iconography, consumption, Web 2.0, mobile communication and computing, and mobile lifestyle, social media. ii
v TABLE OF CONTENTS ABSTRACT. i DECLARATION.. iii ACKNOWLEDGEMENTS.. iv TABLE OF CONTENTS. v LIST OF FIGURES. ix Chapter 1 Introduction 1 1.1 Research Flow and Chapters... 2 Chapter 2 Evolutionary Kawaii 14 2.1 Kawaii Definition and Phenomena... 14 2.2 Psychological Kawaii: Characteristics of Cuteness... 17 2.2.1 Cute Aesthetics: The Difference between West and East... 19 2.3 Social Formation of Kawaii Culture...23 2.3.1 Male Chauvinism and Visual Presentation... 24 2.3.2 This is a Small World: Adoration of Smallness... 28 2.3.3 Metaphor of Smallness: Tributary System... 30 2.3.4 Love and Peace: From Mascot to Kawaii Culture... 34 2.4 Visual Formation of Kawaii: From Early Japanese Art to Cute Imagery... 37 2.4.1 The Connection between Classical Japanese Art and Manga... 37 2.4.2 Case Study: Superflat - Manga as Contemporary Japanese Art... 38 2.4.3 Origin of Manga: Classical Japanese Art, Manga and Cuteness... 46 2.4.4 The Birth of Kawaii After WWII... 54 2.4.5 When East Meets West: Art Nouveau and Walt Disney... 56 2.4.6 Reflection of Cuteness in Shoujo Manga... 61 2.5 Rebellious Kuso! Emergent Visual Culture... 63 2.5.1 Cute Monsters! From Early Japanese Art to Kuso... 65 2.5.2 Fantasy of Monsters: Early Illustrations on Newspapers... 69 2.5.3 Personalization and Comical Traits Since Edo Period... 73 2.6 The Schizophrenic Nature of Cuteness... 78 2.6.1 Counter-culture and Rebellious Cuteness Kuso... 80 v
vi 2.6.2 Rebellious Cartoon Characters... 84 2.6.3 Cute Has Gone Bad! The Rebellious Bratz Dolls... 87 2.6.4 The Evolutionary Dolls: Barbie vs Bratz... 88 2.6.5 Cool and Cute: Case study on Emily The Strange... 97 2.6.6 Comedy and Kuso Expression... 103 2.7 The Emergent Kuso Culture in Movies on TV... 105 2.7.1 Case study 1: Stephen Chow (Movie)... 105 2.7.2 Case Study 2: Wu Tzong Sien, TV Host in Taiwan (2007-2009)... 111 2.7.3 Kuso Emoticons... 114 Chapter 3 Cute Consumption, Communication and Social Identity 102 3.1 Cute Sells! Cuteness and Persuasive Power... 102 3.1.1 A cute day... 102 3.1.2 Cuteness Pervades the Air Wherever I Go... 105 3.1.3 Product Association with Cuteness... 110 3.2 Kawaii Self: Self Branding, Identity and Cuteness... 112 3.2.1 Brand Identity and Self... 112 3.2.2 Self-Brand and Social Media for Generation Y... 116 3.3 Self Identity in Cyberspace... 119 3.3.1 The Cute Self... 127 3.3.2 Interview with Ground Zero Fashion... 130 3.4 Packaging Self with Cute Aesthetics: Cosplay... 132 3.5 Immersive Cuteness: 3D Cosplay, Identity and Consumption Culture in Virtual World... 139 3.5.1 Social Agent in Cyberspace: anime Characters, Avatar and Social life... 139 3.5.2 Cosplayer: Social Rebel in Japan... 141 3.5.3 Case Study: A Wedding for Real in Virtual Land... 145 3.5.4 Avatar as Social Agents: Self-Image is Part of Visual Language... 146 3.5.5 New Pop Star is Not a Human: Live Concerts by Manga Characters... 150 3.6 Virtual Symbol and Consumption: Emoticons as a Commodity... 153 Chapter 4 Evolution of Iconography and Cute Literacy 158 4.1. Iconography in Pre-Computer Age: A Brief History... 160 4.2. Beyond Information: Iconography is Getting Emotional!... 166 4.3 Symbols on Sale! Icons and Consumption Culture... 169 4.4 Integration of Iconography and Consumption Culture... 170 4.4.1 Investigation in Iconography... 170 4.4.2 Where Does a Heart Go? When the Icons Meet Cuteness... 173 vi
vii 4.5 Kawaii, Icons and Literacy... 177 4.6 Leisure and Cute Communication... 185 Chapter 5 Iconography in the Computer Age-From Smiley to Comicons 190 5.1 Evolution of Emoticons in the Digital Era: A Brief History... 194 5.2 Kawaii Literacy Roam in Cyberspace: A Case Study with Instant Messenger... 197 5.2.1 Performing Self in Personal Media... 197 5.2.2 Manga and Cute Literacy... 202 5.2.3 Early Smiley in Japan Kaomoji O( _ )O~... 207 5.3 The Birth of Comicon... 213 5.3.1 The Miracle of Wan Wan Comicons in Taiwan... 214 5.3.2 Sweet Talk in Everdayness... 216 5.3.3 Globalization of Comicons... 223 5.4 Emoticons 2.0: Comicon as Social Agent... 226 5.4.1 Case study: Facebook... 226 5.4.2 Social Exchange Rules: The Sociable Comicons... 230 5.4.3 Accommodation Theory: Social Pattern and Comicon... 234 5.4.4 Performing Self: Virtual Identity with Comicons... 238 5.5 The Functions of Comicon... 240 5.5.1 Performing Self: Virtual Identity with Comicons... 241 5.5.2 Soften Unnecessary Conflict... 242 5.5.3 Bridging Language and Cultural Differences... 243 5.5.4 Comicon as Commodity for Social Exchange (Financial Benefit)... 243 5.5.5 Increase Intimacy During Social Interaction... 244 5.5.6 Facilitate Efficiency... 245 Chapter 6 Visual Semiotics of Comicons 248 6.1 An Overview of Semantics... 248 6.2 Visual Semantics and Research Framework... 250 6.2.1 The Relationship Between Signs... 251 6.2.2 The Reconstruction of Visual Semantics in Comicons... 255 6.2.3 Case study: Experiment and Proof of Comics Syntax... 256 6.2.4 Unlimited Semiotics: Model Q Theory and Changeable Semantics... 258 6.3 Visual Semiotics from Manga to Comicons... 263 6.3.1 Emergence of Visual Language: Words Replaced by Graphics... 269 6.4 Paradoxical Connotation of Cuteness: Sweet and Sour... 272 6.4.1 Decoding Semiotics via Social Presence... 274 6.4.2 Further Experiments and Review: The Relationship Between Social vii
viii Presence and Message Decoding... 275 Chapter 7 Conclusion 280 7.1 Research Summary... 280 7.2 Summary of Major Findings... 282 7.2.1 The Development of an Interdisciplinary Study of Formation of Kawaii Culture and Literacy... 283 7.2.2 New Roles of Emoticons... 285 7.2.3 The Birth of Comicon: Discovery and New Definition... 286 7.2.4 Origin of Kuso Emoticons... 287 7.2.5 Visual Semantics of Comicons... 288 7.2.6 Emergence of Cute Literacy: Text Replaced by the Graphwords... 289 7.3 Suggestions for Future Research...291 7.3.1 A synthesis of the emergent visual semantics examination... 291 7.3.2 The inappropriate use of graphical icons... 292 7.3.3 Observation of regular activities among online user behavior... 292 7.3.4 The role of Comicons and other aspects of digital... 292 Bibliography 294 Appendices: User survey forms 313 Appendix 1: Emoticon Users Survey... 314 Appendix 2: The Difference between Text, Kaomoji, Smiley and Comicons... 315 Appendix 3: Facebook Emoticons / User Behaviour Survey... 316 Appendix 4: Paradoxical Connotation of Cuteness... 317 Appendix 5: Comicons, Identity and Messages... 318 Appendix 6: Presence and Message Decoding... 320 viii