ABSTRACT

This article investigates the first representation of LGBTQ characters in an asadora (Japanese morning drama), arguably the most conservative and ‘traditional’ series format in contemporary Japanese television. I suggest that the introduction of an openly gay character in 2018’s Hanbun, aoi can be accounted for by appeal to two factors. First, this particular series’ thematic focus on failure, manga, and nostalgia for the 1990s, including the ‘gay boom’ associated with that decade, motivated the depiction of a gay character. Second, Japan’s political agenda in the 2010s encouraged the positive reinterpretation of sexual minorities as important new consumers and a tourist niche, especially with an eye to the blockbuster international event that was meant to be the 2020 Tokyo Olympics. However, the superficial and highly stereotyped representation offered in Hanbun, aoi reflects a contemporary strategy in Japanese mass media and politics: namely, that of celebrating ‘LGBT-friendliness’ as a promotional or marketing move, while avoiding substantive discussions about critical LGBTQ issues like discrimination and legal rights.

摘要

本文调查了 LGBTQ 角色在asadora（日本早间剧）中的首次表现，可以说是当代日本电视中最保守和“传统”的连续剧形式。我建议在 2018 年的韩文 aoi 中引入一个公开的同性恋角色可以通过诉诸两个因素来解释。首先，这个特别系列的主题聚焦于 1990 年代的失败、漫画和怀旧情绪，包括与那十年相关的“同性恋热潮”，激发了对同性恋角色的描绘。其次，日本在 2010 年代的政治议程鼓励将性少数群体重新解读为重要的新消费者和旅游利基，特别是着眼于旨在成为 2020 年东京奥运会的重磅国际赛事。然而，《苍井空》中所提供的肤浅和高度刻板的表现 反映了日本大众媒体和政治的当代战略：即，将“对 LGBT 友好”作为促销或营销举措，同时避免对歧视和合法权利等关键 LGBTQ 问题进行实质性讨论。