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Reconstruction of the united states
Effects of world war 2
Effects of world war 2
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As one of the first films of the post-war reconstruction period following World War II, Akira Kurosawa’s No Regrets for Our Youth is a film that underwent much turmoil in its pre-production and production phases. However, imbibing all limitations and obstacles, Kurosawa’s film expertly commentates the status of Japan’s state as a nation during this time. Upon closer examination of this film, key indicators contribute to this understanding, these include: the impact of American occupation, Japanese citizen representation, and the role of a fascist regime centralized on nationalistic attitudes and mentalities to convey these messages. With the aid of insight from Kurosawa himself, in addition to other sources, No Regrets for Our Youth provides an adept aesthetic depiction of the resolution of a defeated nation. Before exploring conflicts surrounding the actualization of the production itself and Kurosawa’s personal reflection and experience, it is necessary to describe the plot of the film. This plot centralizes on the life of Yukie, an only child born to an affluent family with her …show more content…
In the Occupation situation regarding Germany, Britain, France, the Soviet Union, and the United States equally divided their occupation roles. However, when concerning the Occupation of Japan, the Allies were in agreement that the United States would have sole control over Japan rather than an equitable division of power with the other nations. In addition to establishing this base, General MacArthur was appointed the role of Supreme Commander of the Allied Powers. As was the case with Germany, the primary function of this occupation was to democratize Japan, one step toward doing this was lifting the regulations placed on the film industry in the pre-war
Peter H. Brothers’ “Japans Nuclear Nightmare” compares the movie Godzilla to a devastating period in Japan’s history: The Atomic Age. The bombing of Hiroshima and Nagasaki by the United States destroyed Japan. In this article, Brothers wants to educate the audience and accomplishes this by using ethos and pathos. He uses ethos by appealing to ethics and to show right and wrong to the Japanese culture and community. He also uses the rhetoric of pathos to appeal to the audience’s emotions. Pathos is one of the easier ways to capture the audience and the author does that by using imagery and symbols. Brothers’ connects
Much of what is considered modern Japan has been fundamentally shaped by its involvement in various wars throughout history. In particular, the events of World War II led to radical changes in Japanese society, both politically and socially. While much focus has been placed on the broad, overarching impacts of war on Japan, it is through careful inspection of literature and art that we can understand war’s impact on the lives of everyday people. The Go Masters, the first collaborative film between China and Japan post-WWII, and “Turtleback Tombs,” a short story by Okinawan author Oshiro Tatsuhiro, both give insight to how war can fundamentally change how a place is perceived, on both an abstract and concrete level.
Matsumoto studies three generations, Issei, Nisei, and Sansei living in a closely linked ethnic community. She focuses her studies in the Japanese immigration experiences during the time when many Americans were scared with the influx of immigrants from Asia. The book shows a vivid picture of how Cortex Japanese endured violence, discriminations during Anti-Asian legislation and prejudice in 1920s, the Great Depression of 1930s, and the internment of 1940s. It also shows an examination of the adjustment period after the end of World War II and their return to the home place.
Hasegawa’s argument attributing the Japanese surrender to Soviet aggression is at times compelling. His book clearly presents that Japanese surrender cannot entirely be attributed to the atomic bombings, however it also cannot be entirely attributed to Soviet aggression either. The lack of a hasty surrender by the Japanese seems better attributed to the extreme internal partisanship and indecision amongst the Japanese leadership, even when faced with Soviet invasion and American annihilation from the air.
Julie Otsuka’s When The Emperor Was Divine told the unspoken stories of many Japanese-Americans during the Interment. Remembering the experiences that thousands of innocent people went through can leave them to feel uneasy and upset. The stripping of their identity and reclassifying them as enemy aliens left them with everlasting trauma and nightmares. Japanese-Americans were arrested, rounded up and transported to Internment camps across the United States where, in some cases, they were held for several years. Therefore, the Japanese-Americans during the Second World War had lasting repercussions from psychological, physical and financial aspects on the prisoners.
Hauser, William B. "Fires on the Plain: The Human Cost of the Pacific War ." Nolletti, Arthur. Reframing Japanese Cinema. Indianapolis: Indiana University Press, 1992. 193-209.
When most American people think of Germany, they think of sports cars made for the autobahn, sauerkraut, Adolf Hitler, and the Holocaust. Compared to Germany, when most American people think of Japan they think of sushi, Godzilla movies, Japan’s attack on Pearl Harbor, and the atomic bombings of Hiroshima and Nagasaki. World War II was such a significant event in history that almost 70 years after it came to an end, today’s younger generations often associate former Axis controlled countries with the war. People around the world are filled with disgust and immense hate when they hear the name Hitler, mainly because of his leadership under the Holocaust; which was the discriminatory mass genocide of 11-17 million people, the vast majority of which were European Jews. Hirohito, former Emperor of Japan, should strike a similar bell with people when they hear his name because Japan carried out genocide on Chinese civilians and soldiers in World War II. Japan’s attack on the Chinese city of Nanking, was one of the most atrocious events in history. This event has been named both the Nanking Massacre and the Rape of Nanking. The torturous, violent techniques used by the Japanese army upon Chinese civilians and soldiers including dehumanizing them, addicting them to drugs, and other perverse and violent acts, are some of the most grosteque methods ever recorded that could only be thought of by sadistic Japanese soldiers. The events committed by the Japanese army in Nanking, are equally as disgusting as the acts that Nazi Germany committed and should become a major topic involved with World War II in the future, despite the lack of light shed on it in the past for various reasons.
The initial terms of surrender were laid out in the Potsdam Declaration of July 26, 1945, in which the United States, Great Britain, and China all participated. But unlike post World War II Germany, which was split into four quadrants among the Allies, the occupation of Japan was solely and American endeavor. This document was by no means tame. Military occupation would see to it that its measure would be properly carried out. Justice would be served to those "who deceived and misled the people of Japan into embarking on world conquest," Disarmament of the military, reparations as the Allies saw fit, and the "remove all obstacles to the revival and strengthening of democratic tendencies among the Japanese people" were also to be enacted. At the head of this revolution, as spelled out in Potsdam, was Douglas MacArthur.
Throughout December of 1937, the historic city of Nanking was invaded by the Japanese military, which will gradually proceed on to rape and kill helpless civilians as well as carry the death toll to exceed that of the bombings of Hiroshima and Nagasaki, put together. What took place there is certainly retold throughout three views, that of the troops who executed the assault, of the people who survived and suffered, and lastly of the chosen number of Europeans and Americans who battled to save over three hundred thousand people in this abomination. That sort o...
‘The Life of Oharu’ and ‘Rashomon’ is produced by the different director and released different year. Nevertheless, both films are related with the historical event, which is the postwar occupation of Japan. I will be using Noel Burch’s concepts “sense of victimization” and ”subjectivity” in the ‘To the distant observer’ to prove how well those films are reflected the situation and how they overcome with the historical event of Japan. Between 1945 and 1952, the situation of postwar occupation and rehabilitation brought big changes and effects in Japanese society. Their military, political, economic and social formats got restructured. During the struggles, the Japanese people develop the sense of victimization. It helps to develop the movements,
Since eighty percent of Japan’s population was born after the war, most Japanese people do not understand why neighboring countries harbor a grudge against them. This is because the government of Japan did a great deal in order to silence or conceal the truth of what Japan had done. The history textbooks were altered in a way that some can cover all of World War II in just 19 pages. Out of those 19 pages, only four footnotes were directly related to World War II events such as the “Nanjing Massacre”, the “Comfort Women”, “Bringing Korean and Chinese people to work in the mines”, and one last line about “Hiroshima and Nagasaki”. Furthermore, teachers in schools often leave World War II for the last unit, when students are all but ready to jump out of the classroom and sprint outside to embrace the summer. This blatant censorship can be found everywhere in Japan.
The Second World War years saw Japan engaged in military operations throughout Asia with many significant victories. The dropping of Atomic bomb on Hiroshima and Nagasaki however brought Japan to its knees. The once feared and dreaded Japanese armies were defeated. In the years since, both Western and Asian historians have been able to compile detailed records gained from interviews with survivors and from analysis of Japanese documents themselves giving shocking evidence of the scope of atrocities committed by the Japanese armies and government officials. Regardless of their admirable achievements in industry and technology in the 21st century, the Japanese are must still come to ...
Drawing on pictorial traditions as venerable as sumi-e (black and white ink brush painting), yamato-e (landscape painting in the Japanese style), and emaki-mono (narrative picture scrolls), the Japanese cinema was characterized by a pictorial elegance not seen anywhere else in the world. A propensity for long takes and long shots gave many of the films a stately, leisurely, contemplative pacing that appealed to many young film critics and filmmakers. The creation of mood, of tone, was similarly a unique property of the Japanese cinema. Combined with many theatrical elements, the films presented themselves as the product of a culture that seemed far from the one that waged fierce war on the world. The stylistic experiments of Kurosawa (one of the rare directors who were as comfortable with dynamic montage as he was with long takes) and Ozu (a filmmaker virtually unique, but not sui generis, with his graphic matches, narrative ellipses, dramatic de-emphasis, and singular thematic concern) grew out of a prolific, varied, and exciting cinematic period. (Grant p.
When juvenile are being sentenced life in prison for committing murder has always been an issue in many court cases. Some believe that they don 't deserve a second chance and that they should be sentenced life in prison but others do believe in second chances. There are many reasons to why juveniles should be given a second chance in life when they commit a crime such as murder. For example, the brain of these juveniles is not fully developed, the environment can influence them to do such crimes and there 's still ways for them to change and turn their life around.
Being a teenager isn’t easy. You have a lot of things on your mind, a lot of things to worry about, a lot of things to carry and when I mean carry, I mean both physically and mentally. During the 17 years of my life that I have lived so far, I believe that I have never carried this much before. Part of it I think is because it’s senior year. Actually I think that 's the biggest reason why I feel so much pressure on my shoulders. I’m pretty sure that everyone can agree on this, especially if you’ve been through it before. I’m not talking to the adults of course because I know your lives are difficult and what not, but I’m mostly talking to the teens who are currently going through the same stage of life that I’m in right now. Now I’m not saying my life is difficult in any means because I know that I