Tomoyuki Sasaki – författare

Japan's so-called 'peace constitution' renounces war as a sovereign right of the nation, and bans the nation from possessing any war potential. Yet Japan also maintains a large, world-class military organization, namely the Self-Defence Forces (SDF). In this book, Tomoyuki Sasaki explores how the SDF enlisted popular support from civil society and how civil society responded to the growth of the SDF. Japan's Postwar Military and Civil Society details the interactions between the SDF and civil society over four decades, from the launch of rearmament in 1950. These interactions include recruitment, civil engineering, disaster relief, anti-SDF litigation, state financial support for communities with bases, and a fear-mongering campaign against the Soviet Union. By examining these wide-range issues, the book demonstrates how the militarization of society advanced as the SDF consolidated its ideological and socio-economic ties with civil society and its role as a defender of popular welfare. While postwar Japan is often depicted as a peaceful society, this book challenges such a view, and illuminates the prominent presence of the military in people's everyday lives.

Uses popular films to reveal the tensions generated during Japan's postwar "economic miracle," challenging the prevailing view that it was a story of great national success.From the mid-1950s to the mid-1970s, Japan experienced an unprecedented level of economic growth, transforming itself from a war-devastated country to a global economic power. Our image of postwar Japan has been shaped by this event, and we tend to see its history as a story of great national success. Cinema of Discontent challenges this view and details the tensions generated by massive and intense capitalist development through analyses of popular cinema produced during the era of high-speed growth. The films discussed in this book, directed by Kawashima Yūzō, Masumura Yasuzō, Inoue Akira, Ezaki Mio, and Kumashiro Tatsumi, attracted broad audiences yet remain understudied. Cinema of Discontent contextualizes these films in relation to the politics, economy, intellectual discourse, and cultural texts of the time. By doing so, it demonstrates how these films address problems immanent to Japan's postwar capitalism, including uneven development, increasing corporate control over individuals, precarious and contingent work, and militarized peace and prosperity.

Uses popular films to reveal the tensions generated during Japan's postwar "economic miracle," challenging the prevailing view that it was a story of great national success.From the mid-1950s to the mid-1970s, Japan experienced an unprecedented level of economic growth, transforming itself from a war-devastated country to a global economic power. Our image of postwar Japan has been shaped by this event, and we tend to see its history as a story of great national success. Cinema of Discontent challenges this view and details the tensions generated by massive and intense capitalist development through analyses of popular cinema produced during the era of high-speed growth. The films discussed in this book, directed by Kawashima Yūzō, Masumura Yasuzō, Inoue Akira, Ezaki Mio, and Kumashiro Tatsumi, attracted broad audiences yet remain understudied. Cinema of Discontent contextualizes these films in relation to the politics, economy, intellectual discourse, and cultural texts of the time. By doing so, it demonstrates how these films address problems immanent to Japan's postwar capitalism, including uneven development, increasing corporate control over individuals, precarious and contingent work, and militarized peace and prosperity.