Magari yaliyotumika ya kijapani

• Nchi: Nigeria
• Tarehe: 2017-06-13

my name if Bolaji Peter Babatunde.
How do I think about CAR FROM JAPAN?
this indeed is a great question that needs a great and precise answer. I believe in the dream of Japan as a Country and am sure that are not fraudulent in dealing and have never being heard or written of them as a country that there is of such a record. Car from Japan must be real, sure and genuine and I dont believe they will disappoint me at all if I definately become the winner of this competition being a Nigerian.

Car from Japan therefore to we Nigerians are best brand that does not consume fuel and The Japanese automotive industry enjoyed spectacular success in the 1980s. This was largely due to the so-called “lean production system” –the combination of an efficient production system, an effective supplier system, and a product development system. In the 1990s the industry fell on hard times because of the Japanese asset price bubble and extreme currency appreciation. In this book, eminent industry specialist Koichi Shimokawa draws on his thirty years of research and fieldwork with Japanese and US firms to show how the Japanese automotive industry has managed to
recover from this difficult period. He shows how firms like Toyota were
able to transfer Japanese systems to overseas plants and how they have
changed in order to compete in increasingly globalized markets. In addition,
the book addresses the two major challenges to the current industry model:
the rise of China and the environmental and energy supply situation.
KoichiShimokawais Professor in the Faculty of Business Administration
at Tokaigakuen University and Emeritus Professor at Hosei University,
Japan. He is one of the worlds leading researchers on the automotive
industry and is a leading member of the International Motor Vehicle
Program. He is the author of several books on Japanese business and the
automotive industry, including The Japanese Automobile Industry
(London: Athron Press, 1994).

The first real motorization of Japanese society began at the end of the 1910s. This was the result of the industrial boom of WW1 and, with it, the rise of an urban middle class, plus improvements in such things as pneumatic tyres and more reliable starting, as well as lower prices for imported vehicles made under the Fordist system of mass production. The
rise of automobiles is evident in the spread of town and city bus services
from about 1918-19. Of these, the Aoi Bus of Tokyo from 1919 is famous. The use of buses was also aided by the great earthquake of 1923 which devastated Tokyo and Yokohama. The city authorities urgently imported a large number of Ford-model buses to help with putting the
cities back on their feet. This gave strength to the idea that the automobile could be a catalyst also for economic growth and there was to be extensive road-building across Japan throughout the decade.
In terms of the presence of the automobile on city streets, however,
another boost came in 1925 when Ford established an assembly plant at Yokohama. General Motors followed with its own plant at Osaka and these two companies were to dominate the four-wheeled Japanese market until the mid-1930s.

Desires: In the 1920s, the locations for advertising in Japan expanded along with the growth of a consumer economy. For automobiles, there was already a range of specialist journals. Of these, the first car magazine was ‘Motor’ (Mōtā), published between 1913-44; another was the journal ‘Speed’ (Supiido) which lasted from 1918-40. The latter was principally concerned with automobiles but also airplanes. In passing, it seems that
trains, for all their improvements in design and speed in the 1920s-30s, were still linked to the industrialization of the nineteenth century. Automobiles and airplanes, by contrast, were both newer and more mobile, and thus were two of the premier symbols of modernity. In addition to specialist magazines, there were also such things as postcards and matchbox labels. For this section, I am using press adverts which were designed for a mass,
general audience and had to attract attention by a telling use of image and text. One of the first things to say about automobile advertising in
the Kyoto press of the 1920s is how common it was. Every few days one was likely to see an advert for a car, taxi or truck. This suggests that dealer
s were confident of selling vehicles at least to some of the middle class. Alternatively, they may have regarded this as a long-term campaign to create a desire for car ownership. One should add here that the retailers were Japanese but the product was overwhelmingly American. In this, the most frequently advertised make was
Chevrolet from General Motors. Ford, by contrast, figured very little in the Kyoto press at this time (it did have its own company magazine, Ford Gekkan). Among the other cars from the U.S., there were adverts for a variety of makes including Packard, Dodge, Rickenbacker, and Hudson.
The images and text of advertising may tell us something of a society’s attitude towards new technology. In this era, there was as yet no obvious use of the idea of automobile as escape from the city. This was something which was already appearing in U.S. adverts (most notably in the famous ‘Somewhere west of Laramie’ campaign in 1923 for Jordan) and was to appear much later in Japan: in 1972, Nissan showed its Laurel brand ambling through the countryside accompanied by the text, ‘move slowly, live slowly’. In the 1920s, however, the
automobile and the age of speed seem to be identified clearly and comfortably with the city. Having said that, one of the most notable features of auto advertising in Japan at this time is just how rarely one sees any
form of landscape, urban or rural, and how static the automobile appears. The most frequent view of cars and taxis was side-on and stationary.

It may be here that the automobile’s speed was implicit and that, in the image at least, there was no need for decoration or exaggeration. This contrasts markedly with the advertising for motorbikes and bicycles. In both
of these cases, it was usual to emphasise speed, showing the rider racing through the street, body twisted in effort as if controlling a runaway stallion. Even in a Kennet Bicycles ad which used a female cyclist modestly upright, there was still an impression of movement as she was pictured roving over a map of the Japanese islands and breezing towards the South China Seas.