This study of a series of artistic representations of the Asia Pacific War experience in a variety of Japanese media is premised on Walter Davis' assertion that traumatic events and experiences must be 'constituted' before they can be assimilated, integrated and understood. Arguing that the contribution of the arts to the constitution, integration and comprehension of traumatic historical events has yet to be sufficiently acknowledged or articulated, the contributors to this volume examine how various Japanese authors and other artists have drawn upon their imaginative powers to create affect-charged forms and images of the extreme violence, psychological damage and ideological contradiction surrounding the War. In so doing, they seek to further the process whereby reading and viewing audiences are encouraged to virtually engage, internalize, 'know' and respond to trauma in concrete, ethical terms.

In the decades since her defeat in the Second World War, Japan has continued to loom large in the national imagination of many of her East Asian neighbours. While for many, Japan still conjures up images of rampant military brutality, at different times and in different communities, alternative images of the Japanese ‘Other’ have vied for predominance – in ways that remain poorly understood, not least within Japan itself. Imagining Japan in Postwar East Asia analyses the portrayal of Japan in the societies of East and Southeast Asia, and asks how and why this has changed in recent decades, and what these changing images of Japan reveal about the ways in which these societies construct their own identities. It examines the role played by an imagined ‘Japan’ in the construction of national selves across the East Asian region, as mediated through a broad range of media ranging from school curricula and textbooks to film, television, literature and comics. Commencing with an extensive thematic and comparative overview chapter, the volume also includes contributions focusing specifically on Chinese societies (the mainland PRC, Hong Kong and Taiwan), Korea, the Philippines, Malaysia and Singapore. These studies show how changes in the representation of Japan have been related to political, social and cultural shifts within the societies of East Asia – and in particular to the ways in which these societies have imagined or constructed their own identities. Bringing together contributors working in the fields of education, anthropology, history, sociology, political science and media studies, this interdisciplinary volume will be of interest to all students and scholars concerned with issues of identity, politics and culture in the societies of East Asia, and to those seeking a deeper understanding of Japan’s fraught relations with its regional neighbours.

This study of modern Japan traces the impact of defeat and reconstruction on every aspect of Japan's national life. It examines the economic resurgence as well as how the nation as a whole reacted to defeat and the end of a suicidal nationalism.

Tomiyama Taeko, a Japanese visual artist born in 1921, is changing the way World War II is remembered in Japan, Asia, and the world. Her work deals with complicated moral and emotional issues of empire and war responsibility that cannot be summed up in simple slogans, which makes it compelling for more than just its considerable beauty. Japanese today are still grappling with the effects of World War II, and, largely because of the inconsistent and ambivalent actions of the government, they are widely seen as resistant to accepting responsibility for their nation’s violent actions against others during the decades of colonialism and war. Yet some individuals, such as Tomiyama, have produced nuanced and reflective commentaries on those experiences, and on the difficulty of disentangling herself from the priorities of the nation despite her lifelong political dissent. Tomiyama’s sophisticated visual commentary on Japan’s history—and on the global history in which Asia is embedded—provides a compelling guide through the difficult terrain of modern historical remembrance, in a distinctively Japanese voice.

Divided Lenses: Screen Memories of War in East Asia is the first attempt to explore how the tumultuous years between 1931 and 1953 have been recreated and renegotiated in cinema. This period saw traumatic conflicts such as the Sino-Japanese War, the Pacific War, and the Korean War, and pivotal events such as the Rape of Nanjing, Pearl Harbor, the Battle of Iwo Jima, and the bombings of Hiroshima and Nagasaki, all of which left a lasting imprint on East Asia and the world. By bringing together a variety of specialists in the cinemas of East Asia and offering divergent yet complementary perspectives, the book explores how the legacies of war have been reimagined through the lens of film. This turbulent era opened with the Mukden Incident of 1931, which signaled a new page in Japanese militaristic aggression in East Asia, and culminated with the Korean War (1950–1953), a protracted conflict that broke out in the wake of Japan's post–World War II withdrawal from Korea. Divided Lenses explores the ways in which events of the intervening decades have continued to shape politics and popular culture throughout East Asia and the world. The essays in part I examine historical trends at work in various "national" cinemas, including China, Taiwan, Japan, Korea, and the United States. Those in part 2 focus on specific themes present in the cinema portraying this period—such as comfort women in Chinese film, the Nanjing Massacre, or nationalism—and how they have been depicted or renegotiated in contemporary films. Of particular interest are contributions drawing from other forms of screen culture, such as television and video games. Divided Lenses builds on the growing interest in East Asian cinema by examining how these historic conflicts have been imagined, framed, and revisited through the lens of cinema and screen culture. It will interest later generations living in the shadow of these events, as well as students and scholars in the fields of cinema studies, cultural studies, cold war studies, and World War II history.

In the spring of 1974, Second Lieutenant Hiroo Onoda of the Japanese army made world headlines when he emerged from the Philippine jungle after a thirty-year ordeal. Hunted in turn by American troops, the Philippine police, hostile islanders, and successive Japanese search parties, Onoda had skillfully outmaneuvered all his pursuers, convinced that World War II was still being fought and that one day his fellow soldiers would return victorious. This account of those years is an epic tale of the will to survive that offers a rare glimpse of man's invincible spirit, resourcefulness, and ingenuity. A hero to his people, Onoda wrote down his experiences soon after his return to civilization. This book was translated into English the following year and has enjoyed an approving audience ever since.

Joseph Schumpeter’s conceptions of entrepreneurship, innovation, and creative destruction have been hugely influential. He pioneered the study of economic development and of technological paradigm shifts and was a forerunner of the emerging field of evolutionary economics. He is not thought of as a theorist of credit-supercharged high-speed growth, but this is what he became in postwar Japan. As Mark Metzler shows in Capital as Will and Imagination, economists and planners in postwar Japan seized upon Schumpeter’s ideas and put them directly to work. The inflationary creation of credit, as theorized by Schumpeter, was a vital but mostly unrecognized aspect of the successful stabilization of Japanese capitalism after World War II and was integral to Japan’s postwar success. It also helps to explain Japan’s bubble, and the global bubbles that have followed it. The heterodox analysis presented in Capital as Will and Imagination goes beyond the economic history of postwar Japan; it opens up a new view of the core circuits of modern capital in general.

"Bellah is a sociologist with a grand vision of history, deeply concerned with the twists and turns of religious values, weaving pre-modern religious thinking into the debates of modernization and modernity. He takes a reflective turn with Imagining Japan, evidencing his profound concern with religious evolution."—Tetsuo Najita, University of Chicago "One of the most original attempts to understand some of the psychological and symbolic roots of the central problems in Japanese history. Bellah masterfully brings together intellectual and institutional dimensions of Japan, making a very important contribution to Japanese Studies."—S. N. Eisenstadt, Professor Emeritus at Hebrew University and author of Japanese Civilization: A Comparative View

Focusing on one landmark catastrophic event in the history of an emerging modern nation—the Great Kanto Earthquake that devastated Tokyo and surrounding areas in 1923—this fascinating volume examines the history of the visual production of the disaster. The Kanto earthquake triggered cultural responses that ran the gamut from voyeuristic and macabre thrill to the romantic sublime, media spectacle to sacred space, mournful commemoration to emancipatory euphoria, and national solidarity to racist vigilantism and sociopolitical critique. Looking at photography, cinema, painting, postcards, sketching, urban planning, and even scientific visualizations, Weisenfeld demonstrates how visual culture has powerfully mediated the evolving historical understanding of this major national disaster, ultimately enfolding mourning and memory into modernization.

An accessible, analytical survey of the rise and fall of Imperial Japan in the context of its grand strategy to transform itself into a great power.