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Divided LensesScreen Memories of War in East Asia$
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Michael Berry and Chiho Sawada

Print publication date: 2016

Print ISBN-13: 9780824851514

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824851514.001.0001

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War and Nationalism in Recent Japanese Cinema

War and Nationalism in Recent Japanese Cinema

Yamato, Kamikaze, Trauma, and Forgetting the Postwar

(p.196) Chapter 9 War and Nationalism in Recent Japanese Cinema
Divided Lenses

Aaron Gerow

University of Hawai'i Press

In “War and Nationalism in Recent Japanese Cinema: Yamato, Trauma, and Remembering World War II and Shōwa,” Aaron Gerow situates his reading of Yamato (Otoko tachi no Yamato, 2005)–a blockbuster film about the last days of the famed battleship–within the ““Shōwa 30s [1955-64] boomu” or cultural revival, which by its peak in the mid-2000s had produced an outpouring of nostalgic and sanitized narratives of the early postwar period. Then, engaging the concept of “trauma cinema,” Gerow suggests that Yamato and recent kamikaze films represent wartime suffering in ways that not only elide issues of Japan’s war responsibility but also “divert the audience’s attention away from what might be for the majority of the audience, born after the war ended, the greater trauma: the postwar era” and its turbulent history of economic upheaval, protests against American military bases, and myriad other social tensions

Keywords:   Japanese cinema, World War II, Yamato, trauma, nationalism

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