By Romain Hugault
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Extra resources for Le dernier envol
Cambridge, MA: MIT Press. In tr o d u c t io n xxxi Weber, Steven. 2004. The success of open source. Cambridge, MA: Harvard University Press. Willett, Rebekah. 2004. The multiple identities of Pokémon fans. In Pikachu’s global adventure: The rise and fall of Pokémon, ed. Joseph Tobin, 226–240. Durham, NC: Duke University Press. This page intentionally left blank I CULTURE AND D I S C O URS E This page intentionally left blank 1 Why Study Train Otaku? A Social History of Imagination izumi tsuji WHAT ARE TRAIN OTAKU?
The coming of post-industrial society: A venture in social forecasting. New York: Basic Books. Futagami, Hirokazu. 1978. Shonen shosetsu no keifu. Tokyo: Geneijoh. Hara, Takeshi, and Natsuo Sekikawa. 2004. Tetsudo wa dokoeyukunoka. Yuriika tokushu, tetsudo to nihonjin: Senrowa tsuzukuyo 36 (3): 97–113. Harada, Katsumasa. 1986. Kaikoku to tetsudo. In Nihon no tetsudo— Seiritsu to tenkai, ed. Masaho Noda, Katsumasa Harada, Eiichi Aoki, and Yoshinobu Oikawa, 1–14. Tokyo: Nihon Keizai Hyoronsha. Honda, Toru.
The youth of this era built models that mimicked existing objects while imagining the future of postwar Japan. Trains, especially electric trains, took center stage as the medium of imagination. Once Japan reached the era of illusion in the lower left quadrant, both Japanese society and the culture of imagination were forced to enter a transition. With the advent of postindustrial consumer society, railways went into decline. This, in turn, signified the advent of an era in which space for fantasies and dreams was limited, and imagination had to turn to fantasy to continue to thrive.