Revised stucture of chapter 2&3

Chapter 2:

• War time Japanese propaganda

1. Informing people of military power, encouraging soldiers and troops and soothing the people. Haridakis quotes from the War and the Media, of the main message conveyed in Japanese propaganda at the war time.
2. Momotaro mo uniwashi (the message of national hero and spirit, can be compared to Victory Through Air Power in the next chapter), Evil Mickey attacks Japan (a representation of victimhood under the power of the US)

• Post war Japan

1. Change of society, Economical states, and the emotional states of people, determine a main tone of not only films, which were produced after the war, as a country being defeated in the war.
2. Osamu Tezuka, inspiration and contribution to the Japanese comic and animation industry, the start of Japanese animation.

• Post war film industries

1. 1950s Osamu Tezuka, Miyazaki Hayao, Studio Ghibli as a identical example of producing anti-war film studio etc.

• Post war representations of conflict

1. Expressing a theme of anti-war, and the reflection of the loss of the war and the consequences brought by the endless conflict.
2. Grave of the Fireflies, The Wind Rises, In This Corner of the World
3. Television, Japan and Globalization. Documentary: The Margins of Reality. Discussing the similar and different ways of conveying the message.

Chapter 3:

• Representation from other cultures, USA, Europe etc.

1. The importance of the characteristic, performance, referring back to the films mentioned in chapter 2.
2. Disney animated propaganda compare to Momotaro mo uniwashi, and Astro boy mentioned in previous chapter, also compare to Evil Mickey attacks Japan.The character in original Disney films, and the parody within the Japanese version of the Micky mouse. Both character design and character performance, to support the influence of USA animation on Japanese animated films.
3. Victory through Air Power compare to the Wind Rises, of informative militarism, the contrast of the way of expressing the anti-militarism within the other film.

• Comparing the tone of voice within the animation

1. The main character from the film mentioned in chapter 2, such as In this Corner of the World, to analyse a similar tone of presenting a victimhood, while the USA as a winning country in the Second World War, gives a different perspective reflected on the tone of voice of character in animations.

Visual Reference - USA representations

Blue Racer and the Japanese Beetle

Victory through Air Power

Commando Duck

You're a Sap, Mr. Jap

Academic resources update

Japanese Visual Culture
Macwilliams, M. (2015). Japanese visual culture. Abingdon [u.a.]: Routledge.

Contemporary Youth Culture: An International Encyclopedia, P198
Parmar, P., Richard, B. and Steinberg, S. (2006). Contemporary youth culture. Westport, Conn. [u.a.]: Greenwood Press.

"After World War II was lost, there was little need for this sort of animation, or indeed any animation at all."
A Hundred Years of Japanese Film: A Concise History, with a Selective Guide, P257
Richie, D. (2012). A hundred years of japanese film. New York: Kodansha.

"Many of the cartoons of World War II feature American characters not only defeating Japanese caricatures on battlefields but also killing them completely. Rarely do figures representing the Japanese armed forces survive to the end of an American cartoon."
American Animated Cartoons of the Vietnam Era: A Study of Social Commentary, p165
Lehman, C. (2007). American animated cartoons of the Vietnam era. Jefferson, NC [u.a.]: McFarland.

Visual references - Japanese representations

In this corner of the world

The Wind Rises

Grave of Fireflies

Momotaro no Umiwashi

Evil Mickey Attacks Japan