Amachan japanese drama ending relationship

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amachan japanese drama ending relationship

Amachan (あまちゃん) is a Japanese television drama series. But their relationship becomes strained when Aki finds out that Taneichi is going out with Yui. In the end, Aramaki, in part feeling guilt over what he did to Haruko, opts for the. Amachan (あまちゃん) is a Japanese television drama series. It debuted on April 1 , , and But their relationship becomes strained when Aki finds out that Taneichi is going out with Yui. In the end, Aramaki, in part feeling guilt over what he did to Haruko, opts for the better actress over his own idol and selects Aki for the. *This article is based on the same authors' article “Asadora'Ama-chan' Wa Do Miraretaka~. Yottsu No drama, and by had extended to include all of Japan's prefectures. However, in Since the programs often end up featuring novice actresses with little seemingly no apparent relationship to the main story.

But these personal copies can also get lost, left behind, mislabelled and forgotten. Another significant quality of the recording is its ability to speak to absence. Recordings such as tape cassettes are inscribed with narratives of their creation, preservation and circulation, lending them personal, intimate value in addition to their material properties.

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And that sense of degeneration, whether through the effects of time or through processes of mechanical duplication, can also render a copy as personal and even unique by imbuing its material form with traces of its own social history. This is something that the drama represents, both as a token of s nostalgia and as part of the value system associated with that generation of media. This is supported by another flashback showing the scene, in which the young Haruko gives a copy of the tape to a young Daikichi, who has just started his job at the then-newly opened train station.

He has preserved this copy over the years by keeping it stored in a refrigerator. The act of preservation and apparent regular use also animates the object as unique and personal.

What, then, is a copy? But personal copies of such media also have social lives and histories that complicate their technological existences. But it is also related to the assumption that seemingly anyone — regardless of talent — can become an idol, sug- gesting permeability between the worlds of audiences and performers.

American actress first non-Japanese tapped for NHK series lead | The Japan Times

This extends to the perception of idols as performers of a particular form of intimacy through the possibility of access to them and their mundane qualities of celebrity. Amachan presents a similar narrative of accidental fame as Aki unexpectedly trans- formed into a local celebrity after becoming an ama, with fans visiting the small town from across the eastern seaboard of Japan in order to meet her.

This new-found visibility online propels Aki to minor stardom over the internet, transforming her into a local idol. While hanging out at the local cafe, an idol fan shows Aki and her friends an anonymous online forum filled with gossip and sarcastic, mean-spirited messages about Aki see Figure 4. Another patron tries to soothe her anxieties and assess the situation of contemporary celebrity culture, stating: Indeed, many users on 2channel recognised themselves in this sequence and posted in response.

Within this general enthusiasm for idol culture of the s is a nostalgic sense of loss for the way previous generations of female idols were treated or, more accurately, perceived to be treated and the new media culture from which they emerged. As with the Johnson 55 Figure 4. An idol photographer shows Aki and her friends an internet message board with postings written about them.

amachan japanese drama ending relationship

In the case of idol performers, this projection of a sense of longing is for an audience culture that was believed to be positive and enthusiastic rather than aggressively suspicious and negative.

This is a rose-coloured view of the past, however, which featured any number of forms of scandal and harassment towards idols by tabloid media and aggressive fans and anti-fanswhich Igor Prusa described in relation to Noriko Sakai and Hiroshi Aoyagi with regard to Seiko Matsuda.

Following that trajectory, Amachan might be viewed as nostalgic for a pre-internet media culture in which performers were not exposed to what their anti- fans had to say about them and the negative discourses that emerge out of anonymous social net- works.

The International Journal of Television Studies 13 1 to being negative, inhibits the kind of fantasy of intimacy portrayed in older media cultures, regardless of whether they ever truly existed. Celebrity is, of course, never symmetrical. As Steven Shaviro describes celebrities: I feel involved in every aspect of their lives, and yet I know that they are not involved in mine. Familiar as they are, they are always too far away for me to reach.

NHK drama dives into the ‘idea’ of idols in rural Japan

They fascinate me, precisely because it is utterly impossible that they should ever acknowledge, much less reciprocate, my fascination. This fascination with idols might therefore be figured as part of a larger shift in Japanese media culture. Performers of the s were heavily associated with television, while contemporary idols are expected to have a strong online presence through social media such as personal blogs, Twitter accounts and even make appearances on video streaming sites, such as Niconico and YouTube.

Each of these media forms is imbued with a different sense of intimacy and access — of managing the public with the private — and the intensification of audience demand for access that is made possible through online media and its presumption of availability is part of the trend towards intimacy overtaken by diffusion and negativity.

The popularity of mobile media such as smartphones over that of personal computers in Japan also intensifies this sense of being able to access a favourite celebrity anytime or any- where, which encourages the industry to try and fulfil this notion of constant access through a rhetoric of proximity.

This can be compared to the inelasticity of televisual time and the personal autonomy of new media. There are, of course, precedents for this type of asymmetry in old media environ- ments.

However, although operating in different ways, both groups were ultimately after the same general thing: This sense of nostalgia is therefore relevant not only to how personal copies of media could instil feelings of intimacy or connection between individuals, but in regard to preaudience atomisation televisual culture that was displaced by the splitting of audiences into distinct demographics and on-demand access threatening programmed media.

For some audiences this may be understood as a reminder for the experiences that they grew up with, but for others it serves as a window into a way of engaging with media culture that appears to have disappeared. This is not limited to representations of media form and culture or what the media environment they belonged to might have felt like, but also a projection of the value system that is affiliated with said media.

In Amachan, what is being transmitted is a sense of intimacy, something that is never articulated or revealed in a holistic way, but rather presented as a range of pos- sibilities that we might experience social relationships through the media we use and interact with. But feelings of loss and nostalgia are also deeply embedded in this rhetoric and the way that it presents a sense of intimacy, which is always shown as lost and in need of recovering, of re-collecting.

Perhaps, then, what s popular culture and media looked and felt like is not all that Amachan is trying to show its audience. It is also revealing to us how to be intimate in a 58 Critical Studies in Television: The International Journal of Television Studies 13 1 certain kind of way. As we have seen, this sense of intimacy is one connected to the physical presence of a particular media, personal narratives of creation and ownership and the properties of sociality that accompany them.

If s media culture and its accompanying affects of intimacy and attachment are presented as lost or nostalgic, perhaps what Amachan wants to recollect for contemporary media audiences is a more personal, material form of intimacy with media and, by extension, public and private lives.

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References Amachan NHK. Benjamin W The work of art in the age of its technological reproducibility. She can't handle such big dreams. Toru eventually returns to Noto and is forgiven by his wife Aiko. Mare recalls her childhood memory of eating a delicious birthday cake and wanting to become a pastry chefand after hearing her friend Ichiko's plans to become an idoldecides to give it one last try by entering a cake contest.

amachan japanese drama ending relationship

She fails miserably, and is roundly criticized by the expert judge. Resolving to give up her dream, she tries to confess her feelings for Keita, only to find out he's now going out with Ichiko.

Mare starts working at city hall, with Keita's father as her section chief. Her job is to help people thinking to move to Noto, but runs into many problems, including an agent who secretly steals information about lacquerware and gets Keita into trouble. Mare's family is also in trouble when the Okesaku's son suddenly returns to declare he wants to take over the place and start a cafe.

The drama is filled with various dream sequences in which the characters use to portray their fantasies.

amachan japanese drama ending relationship

Yamada is a typical " otaku " who consults a local website for advice on how to win over Saori. He is very shy at the beginning of the series, often stuttering when talking with the opposite sex as well as to his superiors.

In the beginning, he is willing to try to do away with his "otaku" side. Throughout the series, he is able to admit being an "otaku" to Saori and take pride in who he is.

amachan japanese drama ending relationship

The main heroine of the story and Yamada's love interest. After being rescued by Yamada from a drunken man in the train, Saori sends Yamada teacups as a thank you gift.

After her father lied to her mother in the past, and recently coming out of a deceiving relationship, Saori cannot stand being lied to. Through the series she slowly develops feelings for Yamada.