"In modern Japan's formative years, Sakhalin, the Kuril Islands, Tsushima, the Bonin Islands, and the Ryukyu Islands became the subject of inter-imperial negotiations, where empires nudged each other to secure their status with minimal costs rather than fighting a territorial scramble. Demarcating Japan argues that the transformation of border islands should be understood in as an interconnected process, where inter-local referencing played a key role in the outcome-Japan's geographical expansion in the face of domineering extra-Asian empires"--

Histories of remote islands around Japan are usually told through the prism of territorial disputes. In contrast, Takahiro Yamamoto contends that the transformation of the islands from ambiguous border zones emerged out of multilateral power relations. Demarcating Japan shows the crucial role of nonstate actors in formulating a territory.

Desert islands are the focus of intense geopolitical tensions in East Asia today, but they are also sites of nature conservation. In this global environmental history, Paul Kreitman shows how the politics of conservation have entangled with the politics of sovereignty since the emergence of the modern Japanese state in the mid-nineteenth century. Using case studies ranging from Hawai'i to the Bonin Islands to the Senkaku (Ch: Diaoyu) Isles to the South China Sea, he explores how bird islands on the distant margins of the Japanese archipelago and beyond transformed from sites of resource extraction to outposts of empire and from wartime battlegrounds to nature reserves. This study examines how interactions between birds, bird products, bureaucrats, speculators, sailors, soldiers, scientists and conservationists shaped ongoing claims to sovereignty over oceanic spaces. It considers what the history of desert islands shows us about imperial and post-imperial power, the web of political, economic and ecological connections between islands and oceans, and about the relationship between sovereignty, territory and environment in the modern world.

This book conducts detailed research and analysis on the relevant literature and historical evidence regarding the 640-year history of ancient and modern China and other countries since the Ming Dynasty, and clarifies the chain of evidence concerning the Diaoyu Islands in terms of the facts and jurisprudence. Divided into seven chapters, the book includes over 220 original documents and maps. From the perspective of international law and historical fact, the author clarifies common misconceptions and refutes the opinions on the Diaoyu Islands issue put forward by Japanese officials and some scholars in recent years. By examining the historical documents and related maps of China, Europe and the United States, the ancient Ryukyu Kingdom, and Japan, the book presents convincing arguments that the Diaoyu Islands are historically Chinese territory, as one of the affiliated island groups of Taiwan. The book will be of considerable interest to scholars of Chinese foreign policy, Asian politics, security studies and international relations.

Illustrated with color and black-and-white images of the mountain and its associated religious practices, H. Byron Earhart's study utilizes his decades of fieldwork—including climbing Fuji with three pilgrimage groups—and his research into Japanese and Western sources to offer a comprehensive overview of the evolving imagery of Mount Fuji from ancient times to the present day. Included in the book is a link to his twenty-eight minute streaming video documentary of Fuji pilgrimage and practice, Fuji: Sacred Mountain of Japan. Beginning with early reflections on the beauty and power associated with the mountain in medieval Japanese literature, Earhart examines how these qualities fostered spiritual practices such as Shugendo, which established rituals and a temple complex at the mountain as a portal to an ascetic otherworld. As a focus of worship, the mountain became a source of spiritual insight, rebirth, and prophecy through the practitioners Kakugyo and Jikigyo, whose teachings led to social movements such as Fujido (the way of Fuji) and to a variety of pilgrimage confraternities making images and replicas of the mountain for use in local rituals. Earhart shows how the seventeenth-century commodification of Mount Fuji inspired powerful interpretive renderings of the "peerless" mountain of Japan, such as those of the nineteenth-century print masters Hiroshige and Hokusai, which were largely responsible for creating the international reputation of Mount Fuji. In the eighteenth and nineteenth centuries, images of Fuji served as an expression of a unique and superior Japanese culture. With its distinctive shape firmly embedded in Japanese culture but its ethical, ritual, and spiritual associations made malleable over time, Mount Fuji came to symbolize ultranationalistic ambitions in the 1930s and early 1940s, peacetime democracy as early as 1946, and a host of artistic, naturalistic, and commercial causes, even the exotic and erotic, in the decades since.

The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date. Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film. With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon. The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions. The Japanese Cinema Book is divided into seven inter-related sections: · Theories and Approaches · * Institutions and Industry · * Film Style · * Genre · * Times and Spaces of Representation · * Social Contexts · * Flows and Interactions

This book tackles the question of border control in and around imperial Japan in the first half of the twentieth century, with a specific focus on its documentation regime. It explores the institutional development, media and literary discourses, and on[1]the-ground practices of documentary identification in the Japanese empire and the places visited by its subjects. The contributing authors, covering such regions as Korea, Manchuria, Taiwan, Siberia, Australia, and the United States, place the question of individual identity in the eyes of the respective governments in dialogue with the global developments of the identification and mobility control practices. The chapters suggest the importance of focusing more than previously on the narrative of individual identification, not as a tool for creating nation states but as a tool for generating, strengthening, and maintaining asymmetrical relationships between people of different socioeconomic backgrounds who moved in and out of empires. This book joins the effort in the recent scholarship in migration history to highlight experiences of migrants beyond the transatlantic world, and that in East Asian history to investigate the space and connections beyond the boundaries of the nation states. By bringing together the analyses on the trans-Pacific mobility and Japan’s imperial expansion and its aftermath in East Asia, it shows a complex interplay between state power and moving individuals, two forces whose relationships went far beyond simple competition.