This post is based on a presentation I put together for Dr. Michael DeAngelis‘ Cinema of Peace class that was taught at DePaul University during the winter 2013 quater. It is simply meant to serve as a brief introduction into the history of postwar Japanese cinema, and is in no way comprehensive. Any factual errors are mine and mine alone, and I welcome any and all corrections, along with any other feedback you wish to provide. Thank you.
POSTWAR JAPANESE CINEMA: REMEMBRANCE, UNDERSTANDING, AND THE PAINFUL ART OF HEALING
The bombings of Hiroshima and Nagasaki during World War II were atrocities that would have lasting effects upon the nation of Japan and its people for decades afterward. According to Clif Ganyard, “Japan is still the only nation to have experienced a nuclear attack and so it is really the first and only post-nuclear, post-apocalyptic society.” Similarly, Mick Broderick (1996) asserts that “Hiroshima and Nagasaki evoke powerful and sombre associations of holocaust and apocalypse, a microcosm of the twentieth century’s staging ground for a global nuclear war” (p. 2). This becomes evident when looking at Japan’s national cinema; movies produced in Japan often explore the trauma that resulted from the atomic bomb attacks, even when they aren’t explicitly about the event. This post will serve as a a brief examination of Postwar Japanese cinema, with a particular focus on the themes of remembrance, understanding and healing that have been evident in Japanese films since around the end of World War II in 1945.