Following World War II, Japan's postwar constitution forbade the country to wage war or create an army. However, with the emergence of the cold war in the 1950s, Japan was urged to establish the Self-Defense Forces as a way to bolster Western defenses against the tide of Asian communism. Although the SDF's role is supposedly limited to self-defense, Japan's armed forces are equipped with advanced weapons technology and the world's third-largest military budget. Sabine Frühstück draws on interviews, historical research, and analysis to describe the unusual case of a non-war-making military. As the first scholar permitted to participate in basic SDF training, she offers a firsthand look at an army trained for combat that nevertheless serves nontraditional military needs.
Taking the “tidal wave” of memory in the late twentieth and early twenty-first century as its starting point, this monograph explores collective memory of World War II in East Asia (1937–1945) through film. Weiss argues that Chinese, Japanese, and American remembrance of World War II is intertwined in what she terms a “memory loop,” the transnational mediation and remediation of war narratives. Gender is central to this process, as the changing representation of male soldiers, political leaders, and patriarchal father figures within these narratives reveals Japanese and Chinese challenges to each other and to the perceived “foundational” American narrative of the war. This process continues to intensify due to the globally visible nature of the memory loop, which drives this cycle of transmission, translation, and reassessment. This volume is the first to bring together a collection of Chinese and Japanese war films that have received little attention in English-language literature. It also produces new readings of popular war memory in East Asia by revealing the gendered dimensions of collective remembrance in these films. “This awesome book shows how Chinese and Japanese films about the Second World War both reflect and shape memories of that conflict. Moreover, by analyzing movies about the war and the ensuing ‘competing masculinities,’ Amanda Weiss skillfully discloses their impact on subsequent conceptions of race, gender, and identity. Highly recommended.” —Kam Louie, University of Hong Kong “Amanda Weiss, who views film as a significant mode of popular memory traveling beyond national border, discovers a loop of mutual interaction in the representation of Chinese and Japanese war films deeply intertwined with the nationalism of both countries. Her skill in capturing the intersection of cross-border memories in visual images such as the Tokyo Trials, warrior, rape, and reconciliation is remarkable. This is a transcendent achievement that could only be accomplished by Weiss, who fully understands both Japanese and Chinese languages and deeply understands the movements of consciousness among the people of these countries during her long stay in Japan and China.” —Shunya Yoshimi, University of Tokyo 日本語原文： 1980年代以降、日本と中国の戦争映画は、まったく異なる方向に向かい、それぞれナショナリスティックな語りを発達させてきたと考えられている。しかし、映画とはトランスナショナルな大衆的記憶の技術であると考えるヴァイスは、この両国のナショナリズムと根深く結びついた戦争映画の表象に、国境を越える相互の作用や反作用のループがあることを発見していく。彼女が東京裁判、戦士の表象、レイプ、和解といった映像イメージの中に国境を越える記憶の交錯を捉える手際は鮮やかである。本書はそれ自体、日中の言語を完全に理解し、日本で長く暮らす中でこの国の人々の意識のうごめきを深く理解し、フィルム・スタディーズはもちろん、アジアの近現代史やカルチュラル・スタディーズ、ジェンダー・スタディーズを知悉したヴァイスでなければできない越境的な達成である。
This edited volume explores political motives, discourses and agendas in Japanese manga and graphic art with the objective of highlighting the agency of Japanese and wider Asian story-telling traditions within the context of global political traditions. Highly illustrated chapters presented here investigate the multifaceted relationship between Japan’s political storytelling practices, media and bureaucratic discourse, as played out between both the visual arts and modern pop-cultural authors. From pioneering cartoonist Tezuka Osamu, contemporary manga artists such as Kotobuki Shiriagari and Fumiyo Kōno, to videogames and everyday merchandise, a wealth of source material is analysed using cross-genre techniques. Furthermore, the book resists claims that manga, unlike the bandes dessinées and American superhero comic traditions, is apolitical. On the contrary, contributors demonstrate that manga and the mediality of graphic arts have begun to actively incorporate political discourses, undermining hegemonic cultural constructs that support either the status quo, or emerging brands of neonationalism in Japanese society. The Representation of Politics in Manga will be a dynamic resource for students and scholars of Japanese studies, media and popular cultural studies, as well as practitioners in the graphic arts.
Military-civilian encounters are multiple and diverse in our times. Contributors to this volume demonstrate how military and civilian domains are constituted through entanglements undermining the classic civil-military binary and manifest themselves in unexpected places and manners. Moreover, the essays trace out the ripples, reverberations and resonations of civil-military entanglements in areas not usually associated with such ties, but which are nevertheless real and significant for an understanding of the roles war, violence and the military play in shaping contemporary societies and the everyday life of its citizens.
Since the end of World War II, Japan has not sought to remilitarize, and its postwar constitution commits to renouncing aggressive warfare. Yet many inside and outside Japan have asked whether the country should or will return to commanding armed forces amid an increasingly challenging regional and global context and as domestic politics have shifted in favor of demonstrations of national strength. Tom Phuong Le offers a novel explanation of Japan’s reluctance to remilitarize that foregrounds the relationship between demographics and security. Japan’s Aging Peace demonstrates how changing perceptions of security across generations have culminated in a culture of antimilitarism that constrains the government’s efforts to pursue a more martial foreign policy. Le challenges a simple opposition between militarism and pacifism, arguing that Japanese security discourse should be understood in terms of “multiple militarisms,” which can legitimate choices such as the mobilization of the Japan Self-Defense Forces for peacekeeping operations and humanitarian relief missions. Le highlights how factors that are not typically linked to security policy, such as aging and declining populations and gender inequality, have played crucial roles. He contends that the case of Japan challenges the presumption in international relations scholarship that states must pursue the use of force or be punished, showing how widespread normative beliefs have restrained Japanese policy makers. Drawing on interviews with policy makers, military personnel, atomic bomb survivors, museum coordinators, grassroots activists, and other stakeholders, as well as analysis of peace museums and social movements, Japan’s Aging Peace provides new insights for scholars of Asian politics, international relations, and Japanese foreign policy.
Creating Japan’s Ground Self-Defense Force, 1945–2015 is a timely contribution to postwar Japan security studies. It is the first comprehensive account of Japan’s post-1945 army, including a comprehensive institutional history, together with the evolution of roles and missions and the adoption of successive professional identities. The organizational history is embedded within a thorough examination of Japan’s own defense policy, as well as of America’s policy of alliance with Japan. The book examines and challenges assumptions about the drafting and adoption of the War Renunciation clause of Japan’s postwar Peace Constitution, Article 9, which uniquely not only renounces war, but the arms to wage war. Thus Japan’s army is not called an army, but the Ground Self-Defense Force (GSDF). The work also examines the place of an army and soldiers in the formation of Japan’s national identity after its last devastating war, and explores the impact of constitutional, legal and policy restrictions, as well as the power of the legacy of the still-largely vilified Imperial Japanese Army on GSDF members who seek to serve because “there are people we want to protect.” The study is rounded by an examination of the place of soldiers in Japan’s popular culture, focused on movies, manga and anime, assessing the impact on the GSDF of a public imagination that most often ignores or villainizes soldiers, though ending with a note that some positive images of soldiers and of the GSDF members themselves have started to appear in the last few years. The book’s author, a retired U.S. Army soldier who spent more than twenty years working, studying and training with the GSDF, offers a broad-ranging exploration of a unique organization. This work is extensively researched, using English and Japanese sources, and will appeal to anyone interested in Japanese security studies, alliance studies, and military imagery in Japanese pop culture, as well as to students of military history, international security, international relations, and cultural identity.
This book, based on extensive original research, examines the practice by women in a university sport setting of kendo, the Japanese martial art which, using bamboo swords as well as protective armour, and descended from traditional swordsmanship, instils in its practitioners, besides physical skills, societal values of etiquette and resilience as well connecting them to a “traditional” outlook, which includes a gendered cultural identity. The book therefore illustrates an unexplored example of identity construction in Japan, one which legitimises women’s sport experiences within a male-centric physical culture, unpacks the notion of “tradition” in kendo and unravels its stultifying control over women’s kendo participation, and discusses the androgenicity of women’s participation to highlight its subversive potential to develop women as leaders in sport, politics, and other fields which continue to be very male dominated in Japan.
