Imagining Japan In Post War East Asia

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.

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.

As the first international conflict of the twentieth century, the Russo-Japanese War attracted much contemporary global interest. This text was the first full-length study to examine the war from the perspective of its impact on Japanese society, and sheds light on its implications for modern Japan. What did the war mean to the Japanese people and how did they respond to it? Naoko Shimazu presents a fascinating and highly innovative account of the attitudes of ordinary Japanese people towards the war through a wide range of sources including personal diaries, letters, and contemporary images. She deals with themes such as conscripts and battlefield death, war commemoration, heroic myths, and war in popular culture. Challenging the orthodox view of Meiji Japan as monolithic, she shows that there existed a complex and ambivalent relationship between the Japanese state and society.

Although the Japanese empire rapidly dissolved following the end of World War II, the memories, mourning, and trauma of the nation's imperial exploits continue to haunt Korea, China, and Taiwan. In Anti-Japan Leo T. S. Ching traces the complex dynamics that shape persisting negative attitudes toward Japan throughout East Asia. Drawing on a mix of literature, film, testimonies, and popular culture, Ching shows how anti-Japanism stems from the failed efforts at decolonization and reconciliation, the Cold War and the ongoing U.S. military presence, and shifting geopolitical and economic conditions in the region. At the same time, pro-Japan sentiments in Taiwan reveal a Taiwanese desire to recoup that which was lost after the Japanese empire fell. Anti-Japanism, Ching contends, is less about Japan itself than it is about the real and imagined relationships between it and China, Korea, and Taiwan. Advocating for forms of healing that do not depend on state-based diplomacy, Ching suggests that reconciliation requires that Japan acknowledge and take responsibility for its imperial history.

A concise new history of a century of struggles to define Asian identity and express alternatives to European forms of universalism. The balance of global power changed profoundly over the course of the twentieth century, above all with the economic and political rise of Asia. Asia after Europe is a bold new interpretation of the period, focusing on the conflicting and overlapping ways in which Asians have conceived their bonds and their roles in the world. Tracking the circulation of ideas and people across colonial and national borders, Sugata Bose explores developments in Asian thought, art, and politics that defied Euro-American models and defined Asianness as a locus of solidarity for all humanity. Impressive in scale, yet driven by the stories of fascinating and influential individuals, Asia after Europe examines early intimations of Asian solidarity and universalism preceding Japan’s victory over Russia in 1905; the revolutionary collaborations of the First World War and its aftermath, when Asian universalism took shape alongside Wilsonian internationalism and Bolshevism; the impact of the Great Depression and Second World War on the idea of Asia; and the persistence of forms of Asian universalism in the postwar period, despite the consolidation of postcolonial nation-states on a European model. Diverse Asian universalisms were forged and fractured through phases of poverty and prosperity, among elites and common people, throughout the span of the twentieth century. Noting the endurance of nationalist rivalries, often tied to religious exclusion and violence, Bose concludes with reflections on the continuing potential of political thought beyond European definitions of reason, nation, and identity.

The end of Japan’s empire appeared to happen very suddenly and cleanly – but, as this book shows, it was in fact very messy, with a long period of establishing or re-establishing the postwar order. Moreover, as the authors argue, empires have afterlives, which, in the case of Japan’s empire, is not much studied. This book considers the details of deimperialization, including the repatriation of Japanese personnel, the redrawing of boundaries, issues to do with prisoners of war and war criminals and new arrangements for democratic political institutions, for media and for the regulation of trade. It also discusses the continuing impact of empire on the countries ruled or occupied by Japan, where, as a result of Japanese management and administration, both formal and informal, patterns of behavior and attitudes were established that continued subsequently. This was true in Japan itself, where returning imperial personnel had to be absorbed and adjustments made to imperial thinking, and in present-day East Asia, where the shadow of Japan’s empire still lingers. This legacy of unresolved issues concerning the correct relationship of Japan, an important, energetic, outgoing nation and a potential regional "hub," with the rest of the region not comfortably settled in this era, remains a fulcrum of regional dispute.

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.