10 more years have passed since the original Cool Japan essay by Douglas McGray has published. According to this essay, Japan's global cultural influence had quietly grown, from pop music to consumer electronics, architecture to fashion, and animation to cuisine, and Japan became more like a cultural super power than it had been in the 1990s. While this essay has been greatly appreciated in Japan, not only by the bureaucrats and politicians but also the general public, in the reception process of his essay in Japan, his original phrase, Japan's Gross National Cool, has been changed into a slightly different one, Cool Japan, which has become a catch phrase to advance numerous policies not only to boost the Japanese cultural economy but also to enhance national image in the global society based on a sort of national narcissism.
However, during the time of the popularity of Cool Japan discourse, Japanese electronic industry, once the symbol of ‘Japan as Electronic Nation’, has followed the path of decline not only in terms of production and exports value but also innovation power, in other words, the power to create ‘Wow! so cool product’, despite of various government strategies and policy that has been supported by techno-nationalism. That is, after all, the cool Japan discourse along with techno-nationalism has functioned as an ideology for the protection of vested interests of established industry and media conglomerates.
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