National, disciplinary, and linguistic boundaries all play a role in academic study and nowhere is this more apparent than in traditional humanities scholarship surrounding the atomic bombing of Hiroshima and Nagasaki. How would our understanding of this seminal event change if we read Japanese and Euro-American texts together and across disciplines? In Producing Hiroshima and Nagasaki, Yuko Shibata juxtaposes literary and cinematic texts usually considered separately to highlight the “connected divides” in the production of knowledge on Hiroshima and Nagasaki, shedding new light on both texts and contexts in the process. Shibata takes up two canonical works—American journalist John Hersey’s account, Hiroshima, and French director Alain Resnais’ avant-garde film, Hiroshima Mon Amour—that are traditionally excluded from study in Japanese literature and cinema. By examining Hersey’s Hiroshima in conjunction with The Bells of Nagasaki (Nagai Takashi) and Children of the A-Bomb (Osada Arata), both Japanese bestsellers, Shibata demonstrates how influential Hersey’s Hiroshima has been in forging the normative narrative of the hibakusha experience in Japan. She also compares Hiroshima Mon Amour with Kamei Fumio’s documentary, Still It’s Good to Live, whose footage Resnais borrowed to depict atomic bomb victimhood. Resnais’ avant-garde masterpiece, she contends, is the palimpsest of Kamei’s surrealist documentary; both blur the binaries between realist and avant-garde representations. Reading Hiroshima Mon Amour in its historical context enables Shibata to offer an entirely new analysis of Renais’ work. She also delineates how Japanese films came to produce the martyrdom narrative of the hibakusha in the early postwar period. Producing Hiroshima and Nagasaki allows us to trace the complex and entangled political threads that link representations of Hiroshima and Nagasaki, reminding us that narratives and images deploy different effects in different places and times. This highly original approach establishes a new kind of transnational and transpacific studies on Hiroshima and Nagasaki and raises the possibility of a comparative area studies to match the age of world literature.

This book discusses the decision to use the atomic bomb. Libraries and scholars will find it a necessary adjunct to their other studies by Pulitzer-Prize author Herbert Feis on World War II. Originally published in 1966. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

In its diversity of perspectives, The Unfinished Atomic Bomb: Shadows and Reflections is testament to the ways in which contemplations of the A-bomb are endlessly shifting, rarely fixed on the same point or perspective. The compilation of this book is significant in this regard, offering Japanese, American, Australian, and European perspectives. In doing so, the essays here represent a complex series of interpretations of the bombing of Hiroshima, and its implications both for history, and for the present day. From Kuznick’s extensive biographical account of the Hiroshima bomb pilot, Paul Tibbets, and contentious questions about the moral and strategic efficacy of dropping the A-bomb and how that has resonated through time, to Jacobs’ reflections on the different ways in which Hiroshima and its memorialization are experienced today, each chapter considers how this moment in time emerges, persistently, in public and cultural consciousness. The discussions here are often difficult, sometimes controversial, and at times oppositional, reflecting the characteristics of A-bomb scholarship more broadly. The aim is to explore the various ways in which Hiroshima is remembered, but also to consider the ongoing legacy and impact of atomic warfare, the reverberations of which remain powerfully felt.

Introduction: the trans-Pacific imagination - Rethinking boundary, culture and society / Naoki Sakai and Hyon Joo Yoo -- Towards a transnational history of victimhood nationalism: on the trans-Pacific space / Jie-Hyun Lim -- The trans-Pacific migrant and area studies / Lisa Lowe -- Imprinting the Empire: Western artists and the persistence of colonialism in East Asia / Tessa Morris-Suzuki -- The political formation of the homoerotics and the Cold War: the battle of gazes at and from Okinawa / Ikuo Shinjou -- Securing Okinawa for miscegenation: gender and trans-Pacific Empire of the United States and Japan / Annmaria Shimabuku -- The politics of postcoloniality and the literature of "Being-in-Japan" (Zainichi) / Hyoduk Lee -- The incurable feminine: women without a country in East Asian cinema / Hyon Joo Yoo -- Inter-Asia comparative framework: postcolonial film historiography in Taiwan and South Korea / Soyoung Kim -- Postcolonial Hiroshima, mon amour: Franco-Japanese collaboration in the American shadow / Yuko Shibata -- Reconceptualizing "East Asia" in the post-Cold War era / Sun Ge -- Trans-Pacific studies and the US-Japan complicity / Naoki Sakai

An original and compelling new analysis of Hiroshima's place within the global development of Holocaust and World War II memory.

The little-known history of U.S. survivors of the Hiroshima and Nagasaki atomic bombings reveals captivating trans-Pacific memories of war, illness, gender, and community.

This volume investigates the horror genre across national boundaries (including locations such as Africa, Turkey, and post-Soviet Russia) and different media forms, illustrating the ways that horror can be theorized through the circulation, reception, and production of transnational media texts. Perhaps more than any other genre, horror is characterized by its ability to be simultaneously aware of the local while able to permeate national boundaries, to function on both regional and international registers. The essays here explore political models and allegories, questions of cult or subcultural media and their distribution practices, the relationship between regional or cultural networks, and the legibility of international horror iconography across distinct media. The book underscores how a discussion of contemporary international horror is not only about genre but about how genre can inform theories of visual cultures and the increasing permeability of their borders.