Following its defeat in World War II, Japan was placed under the control of SCAP GHQ headed by General Douglas MacArthur. Initially, the Occupation promoted policies of demilitarization and democratization. A new Japanese constitution which pursued pacifism was established. However, as the Cold War intensified, policies switched in the direction of economic recovery, and it was contended that Japan should take the anti-Communist pro-America path. In 1951, at the height of the Korean War, the San Francisco Peace Treaty and the Japan-U.S. Security Treaty were concluded as a fixed set. Winner of the 2015 Yomiuri Yoshino Sakuzo Prize for academic writing on politics, economics, and history, this book provides a wide view of the seven years of the Occupation of Japan which led to the 'postwar system' that has continued into the twenty-first century. --

The difficult mission of a regime change: Toshio Nishi gives an account of how America converted the Japanese mindset from war to peace following World War II.

One of the untold stories of the American military occupation of Japan, from 1945 to 1952, is that of efforts by the Supreme Commander for the Allied Power's (SCAP) Arts and Monuments Division for the preservation of Japan's cultural heritage. While the role of Allies after WWII in salvaging the cultural heritage of Europe has recently become better known, not much is written of the extraordinary vision, planning and endeavors by the curators and art specialists embedded in the US military and later based in Tokyo, and their peers and political masters back in Washington D.C. -all of whom ensured that defeated Japan's cultural heritage was protected in the chaos and misery of post-war years.

Sanitized Sex analyzes the development of new forms of regulation concerning prostitution, venereal disease, and intimacy during the American occupation of Japan after the Second World War, focusing on the period between 1945 and 1952. It contributes to the cultural and social history of the occupation of Japan by investigating the intersections of ordering principles like race, class, gender, and sexuality. It also reveals how sex and its regulation were not marginal but key issues in postwar empire-building, U.S.-Japanese relations, and American and Japanese self-imagery. The regulation of sexual encounters between occupiers and occupied was closely linked to the disintegration of the Japanese empire and the rise of U.S. hegemony in the Asia-Pacific region during the Cold War era. Shedding new light on the configuration of postwar Japan, the process of decolonization, the postcolonial formation of the Asia-Pacific region, and the particularities of postwar U.S. imperialism, Sanitized Sex offers a reading of the intimacies of empires—defeated and victorious.

In 1950 Robert L. Gitler went to Japan to found the first college-level school of library science in that country. His mission, an improbable success, was documented in an assisted autobiography as Robert Gitler and the Japan Library School (Scarecrow Press, 1999). Subsequent research into initiatives to improve library services during the Allied occupation has revealed surprising discoveries and human interest of the lives of very diverse individuals. A central role was played by a librarian, Philip Keeney, who later became well-known as an alleged communist spy. A national plan, designed for Japan’s libraries, was based directly on the county library system developed by progressive thinkers in California, itself a dramatic story. The School of Librarianship at the University of California and its founding director, Sydney Mitchell, was found to have deeply influenced key figures. The story also requires an appreciation of the deployment of American libraries abroad as tools of foreign policy, as cultural diplomacy. Meanwhile, library services in Japan were seriously underdeveloped, despite Japan’s extraordinarily high literacy rate, very well-developed publishing and book retail industries, and librarians who were far from backward. The difference in library development lay in the huge divergence between the ethos of the American public library (dominated by support for individual self-development and Western liberal democracy) and the evolving political ideology of Japanese governments after the Meiji Restoration (1868). After absorbing authoritarian French and German administrative practices Japan became a militarist dictatorship from the 1920s onwards until surrender in 1945. The literature on the Allied Occupation of Japan is vast, but library services have received very little attention beyond the creation of the National Diet Library in 1948. The story of initiatives to improve library services in occupied Japan, the role of libraries as cultural diplomacy, the dramatic development of free public library services in California have remained unknown or little known – until now.

What might Godzilla and Kurosawa have in common? What, if anything, links Ozu’s sparse portraits of domestic life and the colorful worlds of anime? In What Is Japanese Cinema? Yomota Inuhiko provides a concise and lively history of Japanese film that shows how cinema tells the story of Japan’s modern age. Discussing popular works alongside auteurist masterpieces, Yomota considers films in light of both Japanese cultural particularities and cinema as a worldwide art form. He covers the history of Japanese film from the silent era to the rise of J-Horror in its historical, technological, and global contexts. Yomota shows how Japanese film has been shaped by traditonal art forms such as kabuki theater as well as foreign influences spanning Hollywood and Italian neorealism. Along the way, he considers the first golden age of Japanese film; colonial filmmaking in Korea, Manchuria, and Taiwan; the impact of World War II and the U.S. occupation; the Japanese film industry’s rise to international prominence during the 1950s and 1960s; and the challenges and technological shifts of recent decades. Alongside a larger thematic discussion of what defines and characterizes Japanese film, Yomota provides insightful readings of canonical directors including Kurosawa, Ozu, Suzuki, and Miyazaki as well as genre movies, documentaries, indie film, and pornography. An incisive and opinionated history, What Is Japanese Cinema? is essential reading for admirers and students of Japan’s contributions to the world of film.

This work compiles some 120 letters from Japanese citizens to General Douglas MacArthur during the postwar occupation of Japan (1945-1952). These letters evoke the unfiltered voices of people of all classes and occupations during the tremendous upheaval of the early postwar period.