This book tells the story of Michi, one of 650 Japanese war brides who arrived in Australia in the early 1950s. The women met Australian servicemen in post-war Japan and decided to migrate to Australia as wives and fiancées to start a new life. In 1953, when Michi reached Sydney Harbour by boat with her two Japanese-born children, she knew only one person in Australia: her husband. She did not know any English so she quickly learned her first English phrase, "I like Australia", in the car on the way from the harbour to meet her Australian family. In the last fifty years, she brought up seven children while the family moved from one part of Australia to another. Now, in her eighties, she leads a peaceful life in Adelaide, but remains active in many ways. Her voice is full of life and she looks and sounds much younger than her age.

War is traditionally considered a male experience. By extension, the genre of war literature is a male-dominated field, and the tale of the battlefield remains the privileged (and only canonised) war story. In Australia, although women have written extensively about their wartime experiences, their voices have been distinctively silenced. Shooting Blanks at the Anzac Legend calls for a re-definition of war literature to include the numerous voices of women writers, and further recommends a re-reading of Australian national literatures, with women’s war writing foregrounded, to break the hold of a male-dominated literary tradition and pass on a vital, but unexplored, women’s tradition. Shooting Blanks at the Anzac Legend examines the rich body of World Wars I and II and Vietnam War literature by Australian women, providing the critical attention and treatment that they deserve. Donna Coates records the reaction of Australian women writers to these conflicts, illuminating the complex role of gender in the interpretation of war and in the cultural history of twentieth-century Australia. By visiting an astonishing number of unfamiliar, non-canonical texts, Shooting Blanks at the Anzac Legend profoundly alters our understanding of how Australian women writers have interpreted war, especially in a nation where the experience of colonising a frontier has spawned enduring myths of identity and statehood.

Following the end of World War II, 500,000 American troops occupied every prefecture of Japan and interracial marriages occurred. The sudden influx of 50,000 Japanese war brides during 1946-1965 created social tension in the United States, while opening up one of the country's largest cross-cultural integrations. This book reveals the stories of 19 Japanese war brides whose assimilation into American culture forever influenced future generations, depicting love, strength, and perseverance in the face of incredible odds. The Japanese war brides hold a unique place in American history and have been called ambassadors to the United States. For the first time in English these women share their triumphs, sorrows, successes, and identity in a time when their own future was tainted by social segregation. This oral history focuses mainly on women's lives in the period following World War II and the occupation of Japan. It illuminates the cultural expectations, the situations brought about by the war, and effects of the occupation, and also include quotes from various war brides regarding this time. Chapter interviews are set up in chronological fashion and laid out in the following format: introduction of the war bride, how she met her husband, her initial travels to America, and life thereafter. Where needed, explanations, translations, and background history with references are provided.

Adrian grew up in Greendale, Wisconsin. She graduated from Greendale High School in 2013. Growing up was tough for her, both at school and at home. She was always a quiet and shy girl, who didn’t have a lot of friends growing up. She tended to distance herself from others and kept her thoughts to herself. She started writing in her Sophomore year of high school, which became her outlet to let her thoughts be free. She now resides in Minnesota with her partner, who has become her biggest support and influence. Nova is her first book, which is influenced highly on her interest in dragons. She is a fan of Japanese anime and manga, which has influenced in Japan being the main setting of Nova.

This book brings together discussions of leading aspects and repercussions of the Asia-Pacific War, which still have huge relevance today. From the development of war guilt to the vivid effect of art on bringing alive the realities of the war, it analyses a diversity of post-war issues in the Pacific Basin. Organised into five parts, the book begins by scrutinizing the conflicting attitudes towards Japanese post-war society and identifies the various legacies of the war. It also provides an examination of the aftermath of Hiroshima and Nagaski, before studying contemporary civil society and analysing the way memories of the war have changed with time. Each of the chapters discusses the Japanese government’s inability to achieve reconciliation with its neighbours, despite the passage of over 70 years, and the denial of the atrocities committed by the Imperial Army. Arguing that this policy of continuous denial has triggered the rise of civil movements in Japan, this book will be useful to students and scholars of Japanese History and Japanese Studies in general.

As the building blocks of moving pictures, photographs have played an integral role in cinema since the dawn of the medium—a relationship that has grown more complexly connected even as the underlying technologies continue to evolve. Moving Frames explores the use of photographs in German films from Expressionism to the Berlin School, addressing the formal and narrative roles that photographs play as well as the cultural and historical contexts out of which these films emerged. Looking beyond and within the canon, the editors gather stimulating new insights into the politics of surveillance, resistance, representation, and collective memory functioning through photographic rupture and affect in German cinema.