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Religious freedom is a founding tenet of the United States, and it has frequently been used to justify policies towards other nations. Such was the case in 1945 when Americans occupied Japan following World War II. Though the Japanese constitution had guaranteed freedom of religion since 1889, the United States declared that protection faulty, and when the occupation ended in 1952, they claimed to have successfully replaced it with “real” religious freedom. Through a fresh analysis of pre-war Japanese law, Jolyon Baraka Thomas demonstrates that the occupiers’ triumphant narrative obscured salient Japanese political debates about religious freedom. Indeed, Thomas reveals that American occupiers also vehemently disagreed about the topic. By reconstructing these vibrant debates, Faking Liberties unsettles any notion of American authorship and imposition of religious freedom. Instead, Thomas shows that, during the Occupation, a dialogue about freedom of religion ensued that constructed a new global set of political norms that continue to form policies today.
The Allied Occupation of Japan lasted from 2 September 1945 to 28 April 1952 and ushered in an era of unprecedented change for that country. Although British Commonwealth participation played only small part in that story – involving only some 30,000 troops from the various Commonwealth countries compared with the vast numbers of the United States Eighth Army – it nevertheless prompts a discussion, hitherto largely undocumented, concerning its role and relevance. In The British Commonwealth and the Allied Occupation of Japan, Ian Nish who himself was a member of BCOF presents papers by twenty-three authors, partly biographical, partly academic, on subjects grouped in five themes: Origins of the Allied Occupation, Attitudes on the Occupation, Personal Views, the Commonwealth and Peace Negotiations, and the Commonwealth and the Japanese Treaties.
What might Godzilla and Kurosawa have in common? What, if anything, links Ozu’s sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan’s modern age. Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry’s rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan’s contributions to the world of film.
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.
Published to coincide with the 50th anniversary of the end of the American-led Allied Occupation of Japan (1945-52), The Allied Occupation of Japan is a sweeping history of the revolutionary reforms that transformed Japan and the remarkable men and women, American and Japanese, who implemented them.
Soldier of God is a study of General Douglas MacArthur's effort to influence the religious life of Japan by suppressing native religions and enabling the propagation of Christianity in that country during the American occupation (1945-1952). As Supreme Commander of the Allied Powers (SCAP), MacArthur said it was his duty "as a Soldier of God and of the Republic" to fill the moral vacuum in Japan by restoring and reviving religion. After an introduction to Japan's prewar encounter with Christianity, this study focuses on four major issues. Part One describes the efforts of the Foreign Missions Conference (FMC) of the American Council of Churches to resume proselytizing in postwar Japan. The FMC arranged with the American government to send a church delegation to Japan, and President Truman gave a letter to the church leaders addressed to Emperor Hirohito. Part Two explores the delegates' meetings with MacArthur, Emperor Hirohito, Japan's prime minister, and Japanese Christian leaders. Convinced that Japan was a fertile field for propagating Christianity, the FMC in the U.S. laid plans for sending missionaries to support MacArthur's scheme for Christianizing Japan. Part Three explores the Imperial family's apparent interest in Christianity. The empress took Bible lessons and the crown prince (now emperor) studied English and the Bible with an American Quaker woman. The book presents evidence that the major concern of Imperial advisers and staff was to save Emperor Hirohito from trial as a war criminal. Part Four examines MacArthur's policy of using the Christian community to counter the growing influence of Communism in Japanese schools. He supported the creation of a new International Christian University to oppose leftist influence among Japan's youth..This books makes an important contribution to the ongoing study of MacArthur, the Occupation, and Christianity in Japan.
This is a beautifully written, deeply moving and well-researched account of the lives of mixed-race children of occupied Japan. The author artfully blends oral histories with an historical and political analysis of international race relations and immigration policy in North America and Australia, to highlight the little-known story of the thousands of children that resulted from the unions of Japanese women and Allied servicemen posted to Japan following WWII. It is a powerful narrative of loss, longing and reconnection, written by the ABC’s long-time Tokyo correspondent, Walter Hamilton.
Manga and anime (illustrated serial novels and animated films) are highly influential Japanese entertainment media that boast tremendous domestic consumption as well as worldwide distribution and an international audience. Drawing on Tradition examines religious aspects of the culture of manga and anime production and consumption through a methodological synthesis of narrative and visual analysis, history, and ethnography. Rather than merely describing the incidence of religions such as Buddhism or Shinto in these media, Jolyon Baraka Thomas shows that authors and audiences create and re-create “religious frames of mind” through their imaginative and ritualized interactions with illustrated worlds. Manga and anime therefore not only contribute to familiarity with traditional religious doctrines and imagery, but also allow authors, directors, and audiences to modify and elaborate upon such traditional tropes, sometimes creating hitherto unforeseen religious ideas and practices. The book takes play seriously by highlighting these recursive relationships between recreation and religion, emphasizing throughout the double sense of play as entertainment and play as adulteration (i.e., the whimsical or parodic representation of religious figures, doctrines, and imagery). Building on recent developments in academic studies of manga and anime—as well as on recent advances in the study of religion as related to art and film—Thomas demonstrates that the specific aesthetic qualities and industrial dispositions of manga and anime invite practices of rendition and reception that can and do influence the ways that religious institutions and lay authors have attempted to captivate new audiences. Drawing on Tradition will appeal to both the dilettante and the specialist: Fans and self-professed otaku will find an engaging academic perspective on often overlooked facets of the media and culture of manga and anime, while scholars and students of religion will discover a fresh approach to the complicated relationships between religion and visual media, religion and quotidian practice, and the putative differences between “traditional” and “new” religions.