What is Japan? Who are its people? These questions are among those addressed in Bruce Batten's ambitious study of Japan's historical development through the nineteenth century. Traditionally, Japan has been portrayed as a homogenous society formed over millennia in virtual isolation. Social historians and others have begun to question this view, emphasizing diversity and interaction, both within the Japanese archipelago and between Japan and other parts of Eurasia. Until now, however, no book has attempted to resolve these conflicting views in a comprehensive, systematic way. To the Ends of Japan tackles the "big questions" on Japan by focusing on its borders, broadly defined to include historical frontiers and boundaries within the islands themselves as well as the obvious coastlines and oceans. Batten provides compelling arguments for viewing borders not as geographic "givens," but as social constructs whose location and significance can, and do, change over time. By giving separate treatment to the historical development of political, cultural, and ethnic borders in the archipelago, he highlights the complex, multifaceted nature of Japanese society, without losing sight of the more fundamental differences that have separated Japan from its nearest neighbors in the archipelago and on the Eurasian continent.

The post-Cold War era has been difficult for Japan. A country once heralded for evolving a superior form of capitalism and seemingly ready to surpass the United States as the world’s largest economy lost its way in the early 1990s. The bursting of the bubble in 1991 ushered in a period of political and economic uncertainty that has lasted for over two decades. There were hopes that the triple catastrophe of March 11, 2011—a massive earthquake, tsunami, and accident at the Fukushima Daiichi nuclear power plant—would break Japan out of its torpor and spur the country to embrace change that would restart the growth and optimism of the go-go years. But several years later, Japan is still waiting for needed transformation, and Brad Glosserman concludes that the fact that even disaster has not spurred radical enough reform reveals something about Japan's political system and Japanese society. Glosserman explains why Japan has not and will not change, concluding that Japanese horizons are shrinking and that the Japanese public has given up the bold ambitions of previous generations and its current leadership. This is a critical insight into contemporary Japan and one that should shape our thinking about this vital country.

Today’s convergent media environment offers unprecedented opportunities for sourcing and disseminating previously obscure popular culture material from Japan. However, this presents concerns regarding copyright, ratings and exposure to potentially illegal content which are serious problems for those teaching and researching about Japan. Despite young people’s enthusiasm for Japanese popular culture, these concerns spark debate about whether it can be judged harmful for youth audiences and could therefore herald the end of ‘cool Japan’. This collection brings together Japan specialists in order to identify key challenges in using Japanese popular culture materials in research and teaching. It addresses issues such as the availability of unofficially translated and distributed Japanese material; the emphasis on adult-themes, violence, sexual scenes and under-age characters; and the discrepancies in legislation and ratings systems across the world. Considering how these issues affect researchers, teachers, students and fans in the US, Canada, Australia, China, Japan and elsewhere in Asia, the contributors discuss the different ways in which academic and fan practices are challenged by local regulations. Illustrating from personal experience the sometimes fraught nature of teaching about ‘cool Japan’, they suggest ways in which Japanese Studies as a discipline needs to develop clearer guidelines for teaching and research, especially for new scholars entering the field. As the first collection to identify some of the real problems faced by teachers and researchers of Japanese popular culture as well as the students over whom they have a duty of care, this book will be of great interest to students and scholars of Japanese Studies and Cultural Studies.

In The End of Japanese Cinema Alexander Zahlten moves film theory beyond the confines of film itself, attending to the emergence of new kinds of aesthetics, politics, temporalities, and understandings of film and media. He traces the evolution of a new media ecology through deep historical analyses of the Japanese film industry from the 1960s to the 2000s. Zahlten focuses on three popular industrial genres: Pink Film (independently distributed softcore pornographic films), Kadokawa (big-budget productions as part of a transmedia strategy), and V-Cinema (direct-to-video films). He examines the conditions of these films' production to demonstrate how the media industry itself becomes part of the politics of the media text and to highlight the complex negotiation between media and politics, culture, and identity in Japan. Zahlten points to a different history of film, one in which a once-powerful film industry transformed into becoming only one component within a complex media-mix ecology. In so doing, Zahlten opens new paths for uncovering similar broad processes in other large media societies. A Study of the Weatherhead East Asian Institute, Columbia University

New York Times Bestseller: A “virtually faultless” account of the last weeks of WWII in the Pacific from both Japanese and American perspectives (The New York Times Book Review). By midsummer 1945, Japan had long since lost the war in the Pacific. The people were not told the truth, and neither was the emperor. Japanese generals, admirals, and statesmen knew, but only a handful of leaders were willing to accept defeat. Most were bent on fighting the Allies until the last Japanese soldier died and the last city burned to the ground. Exhaustively researched and vividly told, The Fall of Japan masterfully chronicles the dramatic events that brought an end to the Pacific War and forced a once-mighty military nation to surrender unconditionally. From the ferocious fighting on Okinawa to the all-but-impossible mission to drop the 2nd atom bomb, and from Franklin D. Roosevelt’s White House to the Tokyo bunker where tearful Japanese leaders first told the emperor the truth, William Craig captures the pivotal events of the war with spellbinding authority. The Fall of Japan brings to life both celebrated and lesser-known historical figures, including Admiral Takijiro Onishi, the brash commander who drew up the Yamamoto plan for the attack on Pearl Harbor and inspired the death cult of kamikaze pilots., This astonishing account ranks alongside Cornelius Ryan’s The Longest Day and John Toland’s The Rising Sun as a masterpiece of World War II history.

Shakespearean arbitrage -- Between arbitrage and speculation -- Trading on the limits of learning -- Economy of dreams -- The last dream -- From arbitrage to the gift

How did the end of the shoguns pave the way for modern Japan? Between the eighth and twelfth centuries, emperors ruled Japan. But powerful families gained the loyalty of the samurai - the emperors’ warriors. In 1185 one local lord took control as shogun, leader of the samurai armies. For the next seven hundred years, the emperors were ceremonial figures, and the shoguns ruled Japan, banning interaction with the Western world. In the nineteenth century, Westerners demanded that Japan open to trade under the threat of invasion. Japan’s shogunate realized it didn’t have the military technology to fight them. When the shogun government made concessions to the Westerners, Japanese lords were outraged and returned their support to the emperor. The shogunate crumbled. In 1868 Emperor Meiji became ruler of Japan. He opened Japan to modern technology, and his military advisers created a global fighting force. The end of the shoguns, which led to the birth of modern Japan, was one of the world’s pivotal moments.