Ask John: Why is Japanese Film the only Foreign Film Commonly Dubbed?

Question:
Why is it that Japanese movies and anime are the only form of foreign entertainment that they make dubbed versions of? For most, it would be taboo to dub a classic French film into English, yet people are cool with the comical dubs of Godzilla. Is there racism involved?

Answer:
I like to think that there’s not a worldwide conspiracy to intentionally dumb down and trivialize Japanese cinema for international release. I think the more obvious answer lies in the attributes of Japanese cinema itself. As far as the international community is concerned, Japan seems to produce basically two varieties of film: serious film and children’s fantasy. This reductive stereotype certainly isn’t accurate, but unfortunately it’s rather established and accepted. No one would consider dubbing Japanese masterpieces directed by Akira Kurosawa, Yasujiro Ozu, Kenji Mizoguchi, Seijun Suzuki, or films from more contemporary cinema craftsmen including Takeshi Miike, Shogo Ishii, Kiyoshi Kurosawa, Takeshi Kitano and the like. Films from these directors are considered respected art films or legitimate foreign films. Altering their creative content with English dubbing would be considered a violation- a corruption of the integral art of these films.

But Japan’s fantasy film output, including kaiju movies, tokusatsu, and anime aren’t given the same respect. The reaction to this strata of Japanese film has nothing to do with foreign perceptions of Japan or reaction to Japan and everything to do with Western presumptions. Especially in America, virtually any sort of fantasy film is automatically considered inferior to “serious” dramatic film. And anything animated is immediately considered inferior to live action. These assumptions influence the American and Western film industries, and affect the Western consumption of Asian cinema. For example, even though the Star Wars films are among the highest grossing and most popular films ever made and released in America, and the series even the recipient of numerous Academy Awards, Star Wars is still not thought of as “serious” film.

The Japanese film industry apparently doesn’t recognize such a vast schism between different styles of its film output as does America. In Japan it’s perfectly plausible for a giant monster movie to convey a socio-political agenda, and for animated films to discuss the defining characteristics of life and the human condition. But for the Western world, a movie about a giant lizard destroying Tokyo automatically doesn’t have the same weight as a film about samurai because a Godzilla movie is overt fantasy. The Western world assumes and expects “cartoons” and films about the unbelievable, such as giant monsters and color-coordinated costumed heroes, can’t deal with serious and dramatic topics or themes. Basically, the Western world largely examines this variety of Japanese cinema at the most superficial level then alters it to conform to American expectations.

To the Western mindset, The Seven Samurai or Yojimbo should never be “corrupted” by an English dub, but it’s not only acceptable, but actually almost mandatory that an animated version of the same film should be dubbed because it’s animated and therefore not as artistic and cultural and respected as a live action foreign film. Basically the English speaking market sees “respectable” live action Japanese film as true foreign cinema, but sees imported Japanese fantasy as disposable, commercial product for children- even though both may be equally respected in Japan, and both are technically imported foreign cinema.

There’s no racism involved in the Western reaction to Japanese fantasy film, animated or live action; there’s misunderstanding and stereotype. Americans refuse to accept the legitimacy of Japanese fantasy as true foreign film or art film. Certainly not all imported Japanese cinema is on par with the films of Akira Kurosawa, but it’s basically American arrogance that insists that all Japanese cinema conform to American standards. And the continued dubbing of anime and editing of anime for American television broadcast only perpetuates the American belief that anime and related film isn’t worthy of the same respect for artistic integrity that serious live action film receives. The same applies to imported Chinese film, although the domestic subtitled theatrical releases of films including Crouching Tiger, Hidden Dragon, Iron Monkey, and Hero provide a glimmer of hope that the American understanding of live action Chinese fantasy film may be slowly maturing.