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"Because imperialism has had such an appalling ideological reputation, we’ve lost sight of its excitement, the breathless anticipation of adventures in far-off lands. The Attractive Empire is a tour de force of enthralling historical scholarship that puts the appeal, and seductions, of imperialism on display, without underestimating its ugly consequences. Like its chosen subject, the book covers an astonishing array of texts, events, people, and issues. The clarity and vividness of the writing make it work effortlessly. Baskett’s organizational skills, narrative, and rhetoric deftly orchestrate a complex subject." —Darrell William Davis, University of New South Wales "Michael Baskett removes imperial Japanese film from its solitary confinement and commandingly analyzes how it functioned internationally. He commits a depth of research rarely found in English-language studies of Japanese cinema, and his mastery of the primary and secondary sources from beyond Japan’s borders distinctly set his book apart from previous scholarship on the subject. Not only is this a work that historians and film scholars will appreciate but also one that I look forward to assigning to undergraduates." —Barak Kushner, Cambridge University Japanese film crews were shooting feature-length movies in China nearly three decades before Akira Kurosawa’s Rashomon (1950) reputedly put Japan on the international film map. Although few would readily associate Japan’s film industry with either imperialism or the domination of world markets, the country’s film culture developed in lock step with its empire, which, at its peak in 1943, included territories from the Aleutians to Australia and from Midway Island to India. With each military victory, Japanese film culture’s sphere of influence expanded deeper into Asia, first clashing with and ultimately replacing Hollywood as the main source of news, education, and entertainment for millions. The Attractive Empire is the first comprehensive examination of the attitudes, ideals, and myths of Japanese imperialism as represented in its film culture. In this stimulating new study, Michael Baskett traces the development of Japanese film culture from its unapologetically colonial roots in Taiwan and Korea to less obvious manifestations of empire such as the semicolonial markets of Manchuria and Shanghai and occupied territories in Southeast Asia. Drawing on a wide range of previously untapped primary sources from public and private archives across Asia, Europe, and the United States, Baskett provides close readings of individual films and trenchant analyses of Japanese assumptions about Asian ethnic and cultural differences. Finally, he highlights the place of empire in the struggle at legislative, distribution, and exhibition levels to wrest the "hearts and minds" of Asian film audiences from Hollywood in the 1930s as well as in Japan’s attempts to maintain that hegemony during its alliance with Nazi Germany and Fascist Italy.
"Because imperialism has had such an appalling ideological reputation, we’ve lost sight of its excitement, the breathless anticipation of adventures in far-off lands. The Attractive Empire is a tour de force of enthralling historical scholarship that puts the appeal, and seductions, of imperialism on display, without underestimating its ugly consequences. Like its chosen subject, the book covers an astonishing array of texts, events, people, and issues. The clarity and vividness of the writing make it work effortlessly. Baskett’s organizational skills, narrative, and rhetoric deftly orchestrate a complex subject." —Darrell William Davis, University of New South Wales "Michael Baskett removes imperial Japanese film from its solitary confinement and commandingly analyzes how it functioned internationally. He commits a depth of research rarely found in English-language studies of Japanese cinema, and his mastery of the primary and secondary sources from beyond Japan’s borders distinctly set his book apart from previous scholarship on the subject. Not only is this a work that historians and film scholars will appreciate but also one that I look forward to assigning to undergraduates." —Barak Kushner, Cambridge University Japanese film crews were shooting feature-length movies in China nearly three decades before Akira Kurosawa’s Rashomon (1950) reputedly put Japan on the international film map. Although few would readily associate Japan’s film industry with either imperialism or the domination of world markets, the country’s film culture developed in lock step with its empire, which, at its peak in 1943, included territories from the Aleutians to Australia and from Midway Island to India. With each military victory, Japanese film culture’s sphere of influence expanded deeper into Asia, first clashing with and ultimately replacing Hollywood as the main source of news, education, and entertainment for millions. The Attractive Empire is the first comprehensive examination of the attitudes, ideals, and myths of Japanese imperialism as represented in its film culture. In this stimulating new study, Michael Baskett traces the development of Japanese film culture from its unapologetically colonial roots in Taiwan and Korea to less obvious manifestations of empire such as the semicolonial markets of Manchuria and Shanghai and occupied territories in Southeast Asia. Drawing on a wide range of previously untapped primary sources from public and private archives across Asia, Europe, and the United States, Baskett provides close readings of individual films and trenchant analyses of Japanese assumptions about Asian ethnic and cultural differences. Finally, he highlights the place of empire in the struggle at legislative, distribution, and exhibition levels to wrest the "hearts and minds" of Asian film audiences from Hollywood in the 1930s as well as in Japan’s attempts to maintain that hegemony during its alliance with Nazi Germany and Fascist Italy.
When Emperor Hirohito announced defeat in a radio broadcast on 15th August 1945, Japan was not merely a nation; it was a colossal empire stretching from the tip of Alaska to the fringes of Australia grown out of a colonial ideology that continued to pervade East Asian society for years after the end of the Second World War. In Overcoming Empire in Post-Imperial East Asia: Repatriation, Redress and Rebuilding, Barak Kushner and Sherzod Muminov bring together an international team of leading scholars to explore the post-imperial history of the region. From international aid to postwar cinema to chemical warfare, these essays all focus on the aftermath of Japan's aggressive warfare and the new international strategies which Japan, China, Taiwan, North and South Korea utilised following the end of the war and the collapse of Japan's empire. The result is a nuanced analysis of the transformation of postwar national identities, colonial politics, and the reordering of society in East Asia. With its innovative comparative and transnational perspective, this book is essential reading for scholars of modern East Asian history, the cold war, and the history of decolonisation.
When modern primary schools were first founded in Japan and Egypt in the 1870s, they did not teach art. Yet by the middle of the twentieth century, art education was a permanent part of Japanese and Egyptian primary schooling. Both countries taught music and drawing, and wartime Japan also taught calligraphy. Why did art education become a core feature of schooling in societies as distant as Japan and Egypt, and how is aesthetics entangled with nationalism, colonialism, and empire? Beauty in the Age of Empire is a global history of aesthetic education focused on how Western practices were adopted, transformed, and repurposed in Egypt and Japan. Raja Adal uncovers the emergence of aesthetic education in modern schools and its role in making a broad spectrum of ideologies from fascism to humanism attractive. With aesthetics, educators sought to enchant children with sounds and sights, using their ears and eyes to make ideologies into objects of desire. Spanning multiple languages and continents, and engaging with the histories of nationalism, art, education, and transnational exchanges, Beauty in the Age of Empire offers a strikingly original account of the rise of aesthetics in modern schools and the modern world. It shows that, while aesthetics is important to all societies, it was all the more important for those countries on the receiving end of Western expansion, which could not claim to be wealthier or more powerful than Western empires, only more beautiful.
This book offers a fresh reading about the purpose for which Hebrews was written. In this book Whitlark argues that Hebrews engages both the negative pressures (persecution) and positive attractions (honor/prosperity) of its audience's Roman imperial context. Consequently, the audience of Hebrews appears to be in danger of defecting to the pagan imperial context. Due to the imperial nature of these pressures, Hebrews obliquely critiques the imperial script according to the rhetorical expectations in the first-century Mediterranean world-namely, through the use of figured speech. This critique is the primary focus of Whitlark's project. Whitlark examines Hebrews's figured response to the imperial hopes boasted by Rome along with Rome's claim to eternal rule, to the power of life and death, and to be led by the true, victorious ruler. Whitlark also makes a case for discerning Hebrews's response to the challenges of Flavian triumph. Whitlark concludes his study by suggesting that Hebrews functions much like Revelation, that is, to resist the draw of the Christians' Roman imperial context. This is done, in part, by providing a covert opposition to Roman imperial discourse. He also offers evaluation of relapse theories for Hebrews, of Hebrews's place among early Christian martyrdom, and of the nature of the resistance that Hebrews promotes.
In the 1930s and ’40s, Japanese rulers in Manchukuo enlisted writers and artists to promote imperial Japan’s modernization program. Ironically, the cultural producers chosen to spread the imperialist message were previously left-wing politically. In Glorify the Empire, Annika A. Culver explores how these once anti-imperialist intellectuals produced avant-garde works celebrating the modernity of a fascist state and reflecting a complicated picture of complicity with, and ambivalence toward, Japan’s utopian project. A groundbreaking work, Glorify the Empire magnifies the intersection between politics and art in a rarely examined period of Japanese history.
In Representing Empire Ying Xiong examines Japanese-language colonial literature written by Japanese expatriate writers in Taiwan and Manchuria. Drawing on a wide range of Japanese and Chinese sources, Representing Empire reveals not only a nuanced picture of Japanese literary terrain but also the interplay between imperialism, nationalism, and Pan-Asianism in the colonies. While the existing literature on Japanese nationalism has largely remained within the confines of national history, by using colonial literature as an example, Ying Xiong demonstrates that transnational forces shaped Japanese nationalism in the twentieth century. With its multidisciplinary and comparative approach, Representing Empire adds to a growing body of literature that challenges traditional interpretations of Japanese nationalism and national literary canon. “Representing Empire is an outstanding accomplishment, at once making clearer and complicating our understandings of the literary worlds of Manchuria and Taiwan, and the greater imperial empire within which all were transformed. ... add[s] substantially to the ways in which Japan’s empire and twentieth century East Asian history more generally might be interpreted.” Norman Smith, University of Guelph, Modern Chinese Literature and Culture Resource Center Publication (February, 2015)
Analysing materials from literature and film, this book considers the fates of women who did not or could not buy into the Japanese imperial ideology of "good wives, wise mothers" in support of male empire-building. Although many feminist critics have articulated women’s active roles as dutiful collaborators for the Japanese empire, male-dominated narratives of empire-building have been largely supported and rectified. In contrast, the roles of marginalized women, such as sex workers, women entertainers, hostesses, and hibakusha have rarely been analyzed. This book addresses this intellectual lacuna by closely examining memories, (semi-)autobiographical stories, and newspaper articles, grounded or inspired by lived experiences not only in Japan, but also in Shanghai, Manchukuo, colonial Korea, and the Pacific. Chapters further explore the voices of diasporic Korean women (Zainichi Korean woman born in Japan, as well as Korean American woman born in Korea) whose lives were impacted, intervening ethnocentric narratives that were at the heart of the Japanese empire. An appendix presents the first English translation of a memorable statement on comfort women by former Japanese propaganda actress, Ri Kōran / Yamaguchi Yoshiko. Prostitutes, Hostesses, and Actresses at the Edge of the Japanese Empire will appeal to students and scholars of Japanese literature and film studies, as well as gender, sexuality and postcolonial studies.
Civilians play crucial roles in building empires. Constructing Empire shows how Japanese urban planners, architects, and other civilians contributed – often enthusiastically – to constructing a modern colonial enclave in northeast China, their visions shifting over time. Japanese imperialism in Manchuria before 1932 developed in a manner similar to that of other imperialists elsewhere in China, but the Japanese thereafter sought to surpass their rivals by transforming the city of Changchun into a grand capital for the puppet state of Manchukuo, putting it on the cutting edge of Japanese propaganda. Providing a thematic assessment of the evolving nature of planning, architecture, economy, and society in Changchun, Bill Sewell examines the key organizations involved in developing Japan’s empire there as part of larger efforts to assert its place in the world order. This engaging book sheds light on evolving attitudes toward empire and perceptions of national identity among Japanese in Manchuria in the first half of the twentieth century.
A collection of photographs taken of abandoned railroad lines, built since 1869, landforms and ruins created by the railroads including cuts, grades, collapsed tunnels and derelict trestles.