Introduction
Kyoko Miyake’s documentary film Tokyo Idols examines the underground idol culture in Japan, where young women are portrayed as objects of adoration and desire. The complexity of this cultural phenomenon and its effects on the affected women as well as society at large is explored in depth in the movie. The selling of young women’s sexuality, which is pervasive in Japan’s idol industry, is one of the film’s central themes.
The movie’s main issue is the commodification of young women’s sexuality and how the idol business supports a culture of objectification and exploitation. Even while the movie does not offer simple solutions to these complex problems, it is a potent reminder of the need for more awareness and examination of how young women are mistreated in the entertainment business.
Cultural Phenomenon
The documentary Tokyo Idols depicts young women who work in Japan’s shadowy idol business and are frequently taken advantage of. The movie emphasizes the contractual duties that idols are subjected to, which call for them always to project an air of innocence and cuteness, engage in events and performances, and maintain a particular degree of public visibility (Miyake, 2017). These requirements are frequently imposed regardless of the idols’ preferences or physical condition.
It is nothing new for young women’s sexuality to be considered a commodity in Japan’s idol business. Tokyo Idols, on the other hand, highlights how this culture has changed over time and is still alive today (Miyake, 2017). The movie emphasizes how social media and technology have changed the industry and made it simpler for fans to find and interact with their idols.
The way that young women feel compelled to put their idol careers above all else, even their well-being, is one of the film’s most upsetting themes. There is much pressure to maintain a specific image and level of public visibility, and many idols struggle to meet the obligations of their contracts. Many physical and mental health problems, such as stress, depression, and anxiety, are frequently brought on by this pressure (Van Haecke, 2020). The movie demonstrates how the profession’s rigors frequently push idols to the limit of their physical and mental stamina (Miyake, 2017). Even when they are worn out or ill, they are expected to perform several times each day, every day, and to keep up their energy and enthusiasm.
The movie also shows how the idols’ personal lives are frequently neglected in favor of their careers (Miyake, 2017). They frequently find it challenging to pursue relationships or partake in typical social interactions because they always work under managerial supervision (Van Haecke, 2020). Idols frequently experience a lack of privacy due to the pressure to maintain a particular image and level of public visibility, which makes them feel alone and isolated.
A deterioration in traditional masculinity occurred in Japan’s post-bubble era, which caused some men to feel like they had lost authority and power. Tokyo Idols, a movie that touches on this issue, makes the case that the idol business is a reaction to the fall of hegemonic masculinity (Miyake, 2017).
The idol business gives males a way to reclaim their dominance and sense of control over women. Men can demonstrate their authority and satisfy their craving for control by becoming fans of these young women and paying for access to them (Van Haecke, 2020). To give fans a sense of ownership over the bodies of their idols, the industry is based on creating the appearance of intimacy between celebrities and their followers, which is highlighted in the movie.
However, the movie contends that this need for power ultimately harms both men and women. The industry fosters damaging gender stereotypes and the assumption that women are objects to be consumed by continuing the cycle of objectification and exploitation (Van Haecke, 2020). This can cause men to have negative attitudes about women and helps to normalize gender-based violence. The movie also implies that the men working in the sector suffer from this craving for control. The industry limits men’s capacity to express themselves and explore various forms of masculinity by upholding traditional gender roles. Moreover, it promotes the notion that men ought to hold the reins, which can breed entitlement and an inability to take criticism or rejection in stride.
Conclusion
The movie Tokyo Idols highlights the unpleasant reality of the idol business in Japan, where young girls are taken advantage of for financial benefit. Idols are forced by their contractual commitments to put their careers first, which frequently leads to problems with their physical and mental health. The movie serves as a strong reminder of the necessity for greater awareness and scrutiny of the mistreatment of young women in the entertainment industry. It emphasizes how crucial it is to make sure that these women are safeguarded while also having the opportunity to follow their aspirations free from fear of exploitation or injury.
References
Miyake, K. (Director). (2017). Tokyo Idols [Film]. Kanopy.
Van Haecke, P. J. (2020). Female idols in Japan: Desiring desire, fantasmatic consumption and drive satisfaction. East Asian Journal of Popular Culture, 6(1), 77–92. Web.