![\"\"](\"https:\/\/www.waseda.jp\/fire\/gsiccs\/assets\/uploads\/2022\/12\/221201_147-scaled-e1670996339303-610x937.jpg\")
<\/p>\n<\/p>\n
For my master\u2019s thesis, I am researching minority representations in media. <\/span>I focus on the possibilities and difficulties of authentic casting of minority groups (disabled people, sexual\/gender minorities, <\/span>people of color\/<\/span>foreign people\/immigrants<\/span>) and the depictions of those groups in movies and television. <\/span>Authenticity in casting has been bringing a heated debate throughout the world, with the question of <\/span>whether roles should <\/span>be reserved for actors with the same lived experiences as a character<\/span> or not<\/span><\/span>.<\/span> <\/span>For example, when a cisgender, heterosexual actor portraying an LGBTQIA+ character, or a neurotypical actor playing a neurodivergent character, <\/span>controversies arise.<\/span> I personally believe movies and shows such as <\/span><\/span>CODA<\/span><\/span> (2021) and <\/span><\/span>Pose<\/span><\/span> (2018-21) brought cultural value in implementing the practice of authentic representation,<\/span> increasing<\/span> opportunities for actors and actresses with diverse backgrounds<\/span><\/span>. <\/span><\/span><\/p>\n On one hand, authentic <\/span>casting of actors and actresses whose unique perspectives have not been addressed throughout the history of visual media provides them with more employment opportunities. <\/span>Some argue that authentic casting prevents depiction of harmful<\/span><\/span> stereotypes and empowers the <\/span>c<\/span>ommunities in real life<\/span><\/span>. <\/span><\/span>On the other hand, the notion of authenticity might be used to force actors to<\/span><\/span> openly speak about their <\/span>identity and intrude on their private lives<\/span><\/span>. <\/span><\/span>A good example of this was the case of<\/span> a <\/span>closeted<\/span> bisexual actor forced to come out after being accused of \u201cqueerbaiting\u201d as he played a bisexual character on the Netflix series <\/span><\/span>Heartstopper<\/span><\/span> (2022-). The notion of authentic casting has the potential risk of making intricacies of casting and representation fall into<\/span> a<\/span> simple dichotomy of \u201creal\u201d and \u201cunreal<\/span><\/span>\u201d,<\/span><\/span> leading to categorizing people in<\/span> an<\/span> essentialist manner<\/span><\/span>.<\/span><\/span><\/p>\n In my thesis, I will be analyzing movies produced in Japan, including <\/span><\/span>Katasode<\/span> no <\/span>s<\/span>akana<\/span><\/span> [<\/span><\/span>The Fish with One Sleeve<\/span><\/span>]<\/span> <\/span>(2021) and <\/span><\/span>Mai <\/span>sumoru<\/span> rand<\/span>o<\/span><\/span> [<\/span><\/span>My Small <\/span>Land<\/span><\/span>] (<\/span><\/span>2022)<\/span><\/span>,<\/span><\/span> focusing on <\/span>why or why not<\/span><\/span> has<\/span> the director<\/span> followed authentic casting, and what were the outcomes of such decisions, <\/span>such as the <\/span>reactions of audiences inside and outside of the <\/span>minority groups<\/span>. The social and political situation in Japan is different to that of the US or<\/span> the<\/span> UK, so I will look at the legal system of protecting minorities or <\/span>anti-<\/span>discriminations <\/span>legislation <\/span>in Japan<\/span><\/span> and explore the opportunities and obstacles of actors\/actresses working with their identities open to the public.<\/span><\/span>\u00a0<\/span><\/p>\n