In this article, we examine songs that reuse decades-old Japanese media, in which the Japaneseness is both important and attenuated. While there is clear desire for and pleasure in the Japaneseness of source materials in vaporwave (electronic music featuring manipulated sounds and images from the 1980s and 1990s) and future funk (which commonly samples 1980s Japanese music and speeds it up), actual sources matter primarily as a signifier of Japaneseness. Conversely, game sounds (songs that sample or mimic 1990s and 2000s video game music) and chiptunes (songs made with 1980s and 1990s video game hardware) have a direct relationship with either specific video games or material hardware that highlights a direct tie to transnationally distributed culture. Overall, these ways of engaging with Japanese media have significant implications for theorizing cross-cultural exchange.

中文翻译：

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日本流行文化混音中的信用政治：在“80 年代的日本迪斯科舞厅”和“这个混音值得实际游戏”之间

在本文中，我们研究了重复使用数十年历史的日本媒体的歌曲，其中日本性既重要又被削弱。虽然人们对蒸汽波（电子音乐，以 20 世纪 80 年代和 90 年代的声音和图像为特色的电子音乐）和未来放克（通常采样 1980 年代的日本音乐并加速）的源材料的日本性有明显的渴望和乐趣，但实际来源才是最重要的作为日本性的象征。相反，游戏声音（采样或模仿 90 年代和 2000 年代视频游戏音乐的歌曲）和芯片音乐（使用 1980 年代和 90 年代视频游戏硬件制作的歌曲）与特定视频游戏或物质硬件有直接关系，突出了与跨国发行的直接联系文化。总体而言，这些与日本媒体互动的方式对于跨文化交流的理论化具有重要意义。