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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.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. Placing Empire examines the spatial politics of Japanese imperialism through a study of Japanese travel and tourism to Korea, Manchuria, and Taiwan between the late nineteenth century and the early 1950s. In a departure from standard histories of Japan, this book shows how debates over the role of colonized lands reshaped the social and spatial imaginary of the modern Japanese nation and how, in turn, this sociospatial imaginary affected the ways in which colonial difference was conceptualized and enacted. The book thus illuminates how ideas of place became central to the production of new forms of colonial hierarchy as empires around the globe transitioned from an era of territorial acquisition to one of territorial maintenance.
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.
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.
In Promiscuous Media, Hikari Hori makes a compelling case that the visual culture of Showa-era Japan articulated urgent issues of modernity rather than serving as a simple expression of nationalism. Hori makes clear that the Japanese cinema of the time was in fact almost wholly built on a foundation of Russian and British film theory as well as American film genres and techniques. Hori provides a range of examples that illustrate how maternal melodrama and animated features, akin to those popularized by Disney, were adopted wholesale by Japanese filmmakers. Emperor Hirohito's image, Hori argues, was inseparable from the development of mass media; he was the first emperor whose public appearances were covered by media ranging from postcards to radio broadcasts. Worship of the emperor through viewing his image, Hori shows, taught the Japanese people how to look at images and primed their enjoyment of early animation and documentary films alike. Promiscuous Media links the political and the cultural closely in a way that illuminates the nature of twentieth-century Japanese society.
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.
Although tea had been known and consumed in China and Japan for centuries, it was only in the seventeenth century that Londoners first began drinking it. Over the next two hundred years, its stimulating properties seduced all of British society, as tea found its way into cottages and castles alike. One of the first truly global commodities and now the world’s most popular drink, tea has also, today, come to epitomize British culture and identity. This impressively detailed book offers a rich cultural history of tea, from its ancient origins in China to its spread around the world. The authors recount tea’s arrival in London and follow its increasing salability and import via the East India Company throughout the eighteenth century, inaugurating the first regular exchange—both commercial and cultural—between China and Britain. They look at European scientists’ struggles to understand tea’s history and medicinal properties, and they recount the ways its delicate flavor and exotic preparation have enchanted poets and artists. Exploring everything from its everyday use in social settings to the political and economic controversies it has stirred—such as the Boston Tea Party and the First Opium War—they offer a multilayered look at what was ultimately an imperial industry, a collusion—and often clash—between the world’s greatest powers over control of a simple beverage that has become an enduring pastime.
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.
This enthralling book is the first to uncover the story of New York City merchants who engaged in forbidden trade with the enemy before and during the Seven Years’ War (also known as the French and Indian War). Ignoring British prohibitions designed to end North America’s wartime trade with the French, New York’s merchant elite conducted a thriving business in the French West Indies, insisting that their behavior was protected by long practice and British commercial law. But the government in London viewed it as treachery, and its subsequent efforts to discipline North American commerce inflamed the colonists.Through fast-moving events and unforgettable characters, historian Thomas M. Truxes brings eighteenth-century New York and the Atlantic world to life. There are spies, street riots, exotic settings, informers, courtroom dramas, interdictions on the high seas, ruthless businessmen, political intrigues, and more. The author traces each phase of the city’s trade with the enemy and details the frustrations that affected both British officials and independent-minded New Yorkers. The first book to focus on New York City during the Seven Years’ War, Defying Empire reveals the important role the city played in hastening the colonies’ march toward revolution.