Hibakusha Cinema: Hiroshima, Nagasaki and the Nuclear Image

Hiroshima and Nagasaki evoke robust and sombre institutions of holocaust and apocalypse, a imaginative and prescient that provides upward thrust to eastern hibakusha cinema, which makes an attempt to return to phrases with the bombings in a couple of methods. together with contributions from such popular theorists as Donald Richie and Susan Sontag, Hibakusha Cinema focuses serious consciousness upon this little-studied but very important pattern in eastern movie. Assembled chronologically, the anthology starts with infrequent, early observation and closes with new feedback specifically ready for this quantity. The essays discover the metatextuality of Hiroshima and Nagasaki through movie and tv renderings of hibakusha stories in addition to eastern projections of destiny nuclear wars. Hibakusha Cinema assesses a extensive diversity of jap movie to find this crucial topic: the essays disguise documentary and dramatic motion pictures made lower than strict, Occupation-era censorship; the historic docudramas of the Nineteen Fifties and Eighties; the common although severely overlooked nuclear monster subgenera; and apocalyptic manga motion pictures and movies.

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Extra resources for Hibakusha Cinema: Hiroshima, Nagasaki and the Nuclear Image in Japanese Film

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Indeed, the quality of obtuseness seems to transcend the boundary lines of gen­ der. While this m a y well be an attractive feature of Barthes's analysis, it is also problematic, for it is Utopian in the sense that it represses, rather than engages, the duality of gender. The third meaning privileges the feminine without any con­ sideration of h o w , within the narrative and visual e c o n o m y of the film, the terms "male" and "female" are rigidly opposed. " A n d obtuse meanings notwithstanding, in Potemkin m e n and w o m e n are designated as occupying radically different positions.

I believe that the obtuse meaning carries a certain emotion. 49 While Barthes's notion of the obtuse meaning suggests the release of an emancipatory femininity, this third meaning is not fixed within the boundaries of gender. Indeed, the quality of obtuseness seems to transcend the boundary lines of gen­ der. While this m a y well be an attractive feature of Barthes's analysis, it is also problematic, for it is Utopian in the sense that it represses, rather than engages, the duality of gender. The third meaning privileges the feminine without any con­ sideration of h o w , within the narrative and visual e c o n o m y of the film, the terms "male" and "female" are rigidly opposed.

N o r can it be described as a tension between male and female points of view. In the films to be discussed here, the subject of the narrative—whether acknowledged or unacknowledged— is male, even though some of the films explore, briefly and momentarily for the most part, a female point of view. Rather, this is a tension between representations that project malecentered fantasies, and representations that undermine, rath­ er than affirm, a male-centered viewpoint. For some Soviet filmmakers, traditional images of w o m e n were appropriated along with traditional narrative forms; for others, the eman­ T h e W o m a n Question a n d Soviet Silent Film 21 cipatory goal of cinema included a gender c o m p o n e n t .

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