This article applies recent scholarship concerned with transatlantic mobility and print cultures to a comparative study of images of transpacific travel for women during the interwar period. During the 1920s and 1930s female travelers splashed spectacularly across the pages of mainstream, popular magazines produced in America, Britain, and the wider Anglophone world. Focusing on two magazines that launched in this era, The Australian Woman’s Mirror (1924– 1961) and Chatelaine (1928–), this article explores Australian and Canadian fi ctional portrayals of the traveling woman of the interwar years to examine the ways in which the mobility of the modern girl became a screen for anxieties and fantasies of these two national print imaginaries. By paying attention to the different portrayals of female mobility through the Pacific from both sides of the ocean, this article also considers the intersection between actual travel, ideas about travel, and notions of gendered social mobility.
Australian and Canadian Visions of Women, Modernity, and Mobility between the Wars
Australian Women Encounter America, 1930s-1950s
During the mid-twentieth century, Hollywood cinema exerted a powerful influence upon Australian imaginings of the United States. In contrast to the flood of information moving between the Antipodes and Britain, America was relatively unknown, with little aside from film reels making the journey across the Pacific. This article examines how saturation in Hollywood imagery mediated the travel experience of Australian women who stepped through the silver screen and visited America itself. The writings of female transpacific travelers are peppered with references to Hollywood, which is cited as a source of crude preconceptions about America, and also appears as a point of comparison to the author’s own experience. Yet these texts almost never refer to specific films or actors, and instead use Hollywood as a shorthand to denote glamour, affluence, and urban living. The article suggests, therefore, that travelers’ discussions of “Hollywood” were often concerned less with American film than American modernity, and therefore also provide insight into Australian attitudes towards the modern.
History and Hip-Hop Mobility in the Transpacific (EP)
William B. Noseworthy
Scholarship in the field of hip-hop studies has convincingly argued against a “cultural grey out” and in favor of “local idiosyncrasies” in the mobility of cultural forms. That said, no published study has focused on the movements of the artists themselves in a transpacific context that places scenes in Japan, South Korea, Indonesia, Cambodia, and Vietnam in conversation with one another. Varying histories of colonialism and postcolonial movements are essential aspects of each social context. I argue that the transpacific lens allows scholars to draw out the movements of individuals, influences, and emergent trends in the art form to better understand how artists are, metaphorically, scratching back and forth between representing originality on the one hand and the need for popular appeal on the other. I draw on vinyl itself as a metaphor for this article, which is framed as an EP.
A major intervention of mobility studies has been to suggest a new framework for the writing of history. Recent studies of diasporic Indian Ocean communities and trans-Pacific labor migration have shown that mobility history can open the door to histories of mobile subjects rather than static nations and, in the process, lead the way toward a transmodal and transnational research agenda. This article considers what the history of mobility has to offer to the modern history of transport and social life in the Japanese archipelago, which has most often been used to tell the story of the development of the modern Japanese nation-state.