Postcards in Japan: A Historical Sociology of a Forgotten Culture

Extending the study of picture postcards beyond an analysis of their content demonstrates that changes in the material circumstances of the production of postcards, and the conceptual shifts that they catalyzed, fundamentally altered the visual field of late nineteenth–century Japan. Once the postal system began in Japan in 1870, government–issued prepaid postcards, and picture postcards collected and sent from other countries, did introduce the medium to a small degree. However, private production of picture postcards only started in 1900, when postcards to which stamps could be affixed were first allowed. Stores and periodicals first produced them as promotional gifts, opening an arena for print technology experiments. During this period, government–issued commemorative postcards officially encouraged soldier–civilian correspondence, sparking wartime collecting booms. Early postcards of “beauties”, bound by taboos against depicting ordinary women, featured only geisha; later ones depicted ordinary women, subsequently creating a constellation of national stars, setting the stage for later postcard–format bromide paper prints of movie stars’ photographic portraits. “Current–events postcards”, rather than prioritizing accuracy, served as commemorative memorials. However, it was the rise of photojournalism that rendered the genre obsolete. Railway travel, besides reconfiguring and expanding the landscape of tourist destinations, also shaped practices of communication, aided by the innovation of the fountain pen. Increased speed and mobility changed travellers’ ways of seeing in a manner that, like postcards, altered visuality and transformed notions of time and space. Ultimately, picture postcards simultaneously offered intimacy with and distance from the object of the scopophilic gaze of an expanding audience.