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• 1 2017-07-27T11:16:01-07:00 Schedule 11 plain 2019-08-02T13:53:11-07:00 NOTE:  The following schedule is based upon a two-week module with class periods of 50 minutes per day for a total of 10 course periods. These may be adjusted as seen fit to fulfill the requirements of the instructor's course.
  
  NOTE:  Introductory material and film introductions may be used as preparation for instructor's lecture or may be read in class as part of the introduction to the students.
   
   
  Class 1 ~Introduction~
                  - Introduce Japan
                  - Introduce the topic of “Japan and World War II”
                  - Introduce Dragon Head
                  - Homework
                                  - View Dragon Head (2003)
   
   
  Class 2: ~Community~
                  - Introduce the topic of “community”
                  - Discuss Dragon Head
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Homework / Evaluation
                                  - Read “Images of Armageddon: Japan's 1980s Theatre Culture.”  Uchino Tadashi.  TDR (1988-) Vol. 44, No. 1 (Spring, 2000), pp. 85-96
                                  -  Quiz on reading selection / film      
  
        
  Class 3: ~"Victim's History"~
                  - Review the topic of “community”
                  - Introduce the topic of “victim’s history”
                  - Introduce Grave of the Fireflies
                  - Homework
                                  - View Grave of the Fireflies {1988}
   
                 
  Class 4: ~Firebombing of Japan~
                  - Review the topic of “Japan and World War II” (Firebombing)
                  - Discuss Grave of the Fireflies
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Homework / Evaluation
                                  - Read “Transcending the Victim’s History: Takahata Isao’s Grave of the Fireflies.” Wendy Goldberg. Mechademia, Volume 4, 2009, pp. 39-52.
                                  - Quiz on reading selection / film
   
                 
  Class 5: ~Atomic Bombing of Japan~
                  - Introduce the A-Bomb and Hiroshima City
                  - Introduce Barefoot Gen
                  - Homework
                                  - View Barefoot Gen {1983}
   
   
  Class 6: ~Atomic Bombing of Japan, cont'd.~
                  - Review the topic of “Japan and World War II” (Atomic Bombing)
                  - Discuss Barefoot Gen
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Introduce Godzilla​
                  - Homework / Evaluation
                                  - Read “No More Words – Barefoot Gen, Grave of the Fireflies and ‘Victim’s History’.”  Susan J. Napier.  Anime from Akira to Princess Mononoke.  New York:  Palgrave, 2001, pp. 161-174.
                                  - Quiz on reading selection / film
                                  - View Godzilla (1954) 
   
  
  Class 7:  ~Godzilla~
                  - Discuss Godzilla
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Homework
                                  - Read “Godzilla and the Japanese Nightmare: When "Them!" Is U.S.”  Chon Noriega. Cinema Journal, Vol. 27, No. 1 (Autumn, 1987), pp. 63-77.
                                  - Quiz on the reading selections / films
  
   
  Class 8: ~Godzilla, cont'd.~
                  - Review concept of “victim’s history”
                  - Introduce Godzilla, Mothra, and King Ghidorah:  Giant Monsters All-Out Attack!
                  - Homework
                                  - View Godzilla, Mothra, and King Ghidorah:  Giant Monsters All-Out Attack! (2001)  
                                 
                                 
  Class 9: ~Godzilla, cont'd.~
                  - Discuss Godzilla, Mothra, and King Ghidorah:  Giant Monsters All-Out Attack!
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Introduce Godzilla Resurgence
                  - Homework
                                  - Read “Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira.” Susan J. Napier.  Journal of Japanese Studies, Vol. 19, No. 2 (Summer, 1993), pp. 327-35.
                                  - Quiz on the reading selection / film
                                  - View Godzilla Resurgence (2016)
                                 
   
  Class 10: ~Conclusion~
                  - Discuss Godzilla Resurgence
                                  - Discussion Questions
                                  - Discussion Focal Points
                  - Homework / Evaluation
                                  - Essay on Community and “Victim’s History”
                                                  - Prompt
                  - Conclude the module
                                  - Wrap Up Points
   
• 1 2017-07-27T11:15:52-07:00 Discussion: Barefoot Gen 6 plain 2019-08-02T14:28:18-07:00
   

  Review

  Start by asking the class to perform the following:

  • Using your cell phones, find out how much damage was caused to Japan due to the dropping of two atomic bombs.
  • Find out what countries maintain the largest arsenal of atomic weaponry. Which major countries have the least amount of atomic weapons?

  Discussion

  
  Separate the class into groups of 4-5 students, erring on the smaller size. Assign the following questions to the class and allocate 15-20 minutes for these small groups to discuss. As groups discuss these topics, move among groups and evaluate the content/quality of their discourse.

  Discussion Questions

  1. Spend a few minutes in your group discussing your opinion of Barefoot Gen. 
  2. Where can you find representations of community and the in-group/out-group dynamic in the film?
  3. In your opinion, what is the major theme of this movie?
  4. Does the concept of "victim's history" apply to this movie?
  5. Based upon the viewing of this film, what do you think Japan's stance on the war is now?
  6. How can you compare and contrast Barefoot Gen with Grave of the Fireflies in the ultimate message to the viewer?

  
  Now, have the small groups choose a single member to act as a representative of their micro-discussion. Then, give the groups 3 minutes to write a question for the class that relates to one of the previously discussed questions. During this time, go from group to group and check their question.  
  
  Next, bring the group representatives to the front of the room or arrange all chairs in a circle to facilitate a class-wide discussion. At this point, the group representatives will take turns asking their questions to the class and seeking the other students’ opinions. Give full control of the discussion to the students at this point. The role of the instructor is to evaluate participation and the quality of the discourse. If at any time the students are wandering away from the main topics, interject and course correct them. The following Focal Points are important to cover:

  • Barefoot Gen utilizes a large portion of the film to make the main characters sympathetic to the audience. Thus, when the bomb falls, their strife has a larger impact. This technique was not utilized in Grave of the Fireflies, since it begins with the revelation of the climax of the film.  
  • The Nakaoka family are pariahs in their community due to their anti-war stance. Though it is not shown in the film, they are suffering more than most due of lack of food as their neighbors don't wish to associate or trade with them.
  • Their neighbor, Boku Pak, is a Korean. As such, he receives similar discrimination from the community as the Nakaoka family. This is why he is one of the only people to assist them in their time of need as he sympathizes with their plight.
  • The dropping of the bomb is marked by a dramatic change in animation style. Survey the class for their opinions on this change.
  • Barefoot Gen is often seen as "less serious" due to the simplified animation style and heavy Hiroshima accent of the characters. Barefoot Gen seeks to cover a gruesome topic while maintaining a visual connection to the source material.
  • Community and the in-group/out-group dynamic can be seen very clearly in this film. Gen's family forms the strongest representation of the in-group. Even when it is sundered by the bomb, Gen ensures his family's best chance at survival by rebuilding it. The adoption of Ryuta, as a surrogate for the recently deceased Shinji, emphasizes this. Furthermore, the crazed woman, who breastfeeds infant Tomoko when Kimie cannot, also illustrates this concept. Gen and Ryuta support their own in-group, while supporting the community, by taking care of the injured painter. Unlike Grave of the Fireflies, where Seita only worked to support himself and Setsuko, Gen shows the initiative to help not only himself, but others as well. The audience is shown that this is the "correct" decision, as Gen survives and is hopeful at the end of the film while Seita and Setsuko perish.
  • In terms of "victim's history," very little attention is paid to the Japanese aggression during the war.  Note, however, that the nationalist people in the film are shown in a negative light and a clear anti-war approach is taken by the main characters.  The story of the bomb in Japan is the ultimate representation of the "victim's history" and will become the most common theme in post-war narrative.
  • The animation of the American soldiers who drop the bomb is different than any other style in the film.  This serves to reinforce their status as the "other."  Note, however, that they are portrayed neither positively nor negatively.  
  • In start contrast to Grave of the Fireflies, Barefoot Gen expresses a message of peace and hope.  This is represented by the release of the boat at the end of the film. Additionally, the sprouting of the wheat and the hair on Gen's bald head also exemplify sparks of hope.  Whereas Grave of the Fireflies concludes with a melancholy message of remembrance, Barefoot Gen does so with an uplifting message despite the grave nature of the film.  
  • Students interested in the further adventures of Gen and his family should be encouraged to read the English translation of the original comic.

  Homework

  Assign the following reading as a homework assignment.  Readings are available on repositories such as JSTOR:
  
  “No More Words – Barefoot Gen, Grave of the Fireflies and ‘Victim’s History’.”  Susan J. Napier.  Anime from Akira to Princess Mononoke.  New York:  Palgrave, 2001, pp. 161-174.
  
  Assign the following quiz. This quiz can either be assigned as a take-home open book test or given at the beginning of the next class period.  Correct answers are highlighted.
  
  1.  What are the two most famous anime dramas about World War II?
   
  a.  Barefoot Gen and Letters from Iwo Jima
  b.  Barefoot Gen and Grave of the Fireflies
  c.  Grave of the Fireflies and Letters from Iwo Jima
  d.  Grave of the Fireflies and Tora! Tora! Tora!
   
   
  2.  The term "__________" describes the Japanese people as helpless subjects of a corrupt and evil conspiracy between their government and military.
   
  a.  Pacific suffering
  b.  nationalist leaning
  c.  victim’s history
  d.  mie
   
   
  3.  In contrast to Grave of the Fireflies, one of the themes in Barefoot Gen is ___________.
   
  a.  nationalism
  b.  death and rebirth
  c.  living in constant fear
  d.  hopefulness in adversity
   
   
  4.  What is the name of the American bomber that delivered the atomic bomb to Hiroshima?
   
  a.  Enola Gay
  b.  Fat Man
  c.  Little Boy
  d.  Washington B-29
   
   
  5.  What city is the setting for Barefoot Gen?
   
  a.  Hiroshima
  b.  Nagasaki
  c.  Tokyo
  d.  Kobe
  
  
  Download a printable PDF version of this quiz here.

  Prepare

  
  In preparation for the next class, assign the viewing of Godzilla.

    
• 1 2017-07-27T11:15:53-07:00 Discussion: Godzilla 6 plain 2019-08-02T14:29:29-07:00
   

  Discussion

  
  Separate the class into groups of 4-5 students, erring on the smaller size. Assign the following questions to the class and allocate 15-20 minutes for these small groups to discuss. As groups discuss these topics, move among groups and evaluate the content/quality of their discourse.

  Discussion Questions

  1. Spend a few minutes in your group discussing your opinion of Godzilla. 
  2. Where can you find representations of the "victim's history" in the film?
  3. What does the monster, Godzilla, represent in the movie?
  4. What is the role of women in the film?
  5. How does Godzilla "rewrite history" for the Japanese audience?
  
  Now, have the small groups choose a single member to act as a representative of their micro-discussion. Then, give the groups 3 minutes to write a question for the class that relates to one of the previously discussed questions. During this time, go from group to group and check their question.  
  
  Next, bring the group representatives to the front of the room or arrange all chairs in a circle to facilitate a class-wide discussion. At this point, the group representatives will take turns asking their questions to the class and seeking the other students’ opinions. Give full control of the discussion to the students at this point. The role of the instructor is to evaluate participation and the quality of the discourse. If at any time the students are wandering away from the main topics, interject and course correct them. The following Focal Points are important to cover:
  • Though Godzilla was the 8th most popular film of the year in 1954, it also received mixed reviews. Due to the very recent destruction of Japan by means of the firebombings and atomic weaponry, the public was still sensitive to these issues.
  • Godzilla, the creature, is neither a hero nor a villain in this film. Much like a tornado, he can be seen as a sort of natural disaster with no sort of moral motivation. In later films in the franchise, Godzilla would be utilized in both the hero and villain roles. In the next film in this course, Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack, Godzilla will be seen as a clear villain.
  • The role of women in this film is very interesting for the time. Though the main female, Emiko, is quiet and demure, she is the pipeline for connecting the main characters to Dr. Serizawa and convincing him to utilize the Oxygen Destroyer. Additionally, in the scenes of public meetings regarding the Godzilla crisis, it is the women who call for the complete transparency of the government on Godzilla. In contrast, the men want to keep all knowledge of Godzilla a secret. This is another theme that will be explored again in All-Out Attack.
  • Napier's theory of "victim's history" is heavily at play in Godzilla. The crux of the film is the attack and destruction of Japan.  While America is condemned for their use of nuclear weaponry, Japan is again the focus of attack.
  • The film itself is a rewriting of recent history. Whereas in real life Japan was destroyed by nuclear power and defeated, in Godzilla, Japan triumphs over nuclear power (in the form of the titular monster) through Japanese ingenuity. Additionally, with the self-sacrifice of Dr. Serizawa after deploying the Oxygen Destroyer, it sends the message that Japan understands the gravity of such power and did the "right" thing (i.e. didn't let it become weaponized).
  • The opening scene is a reference to a real-life incident. While America was testing a hydrogen bomb in the Bikini Atoll, a Japanese fishing boat, the Daigo Fukuryu Maru, was exposed to radiation due to a miscalculation in the radius of the blast. The fishing boat seen in the first scene of the film is a representation of this event.

  Homework

  Assign the following reading as a homework assignment.  Readings are available on repositories such as JSTOR:
  
  "Panic Sites: The Japanese Imagination of Disaster from Godzilla to Akira.” Susan J. Napier.  Journal of Japanese Studies, Vol. 19, No. 2 (Summer, 1993), pp. 327-35.
  
  Assign the following quiz.  This quiz can either be assigned as a take-home open book test or given at the beginning of the next class period.  Correct answers are highlighted.
  
  1.  The disaster film that Napier compares heavily to Godzilla and Akira is ____________.
   
  a.  Mononoke hime
  b.  Nausicaa of the Valley of the Wind
  c.  Nippon chinbotsu
  d.  Death Note
   
  2.  Which famous American 1980s sequel film does Napier compare Akira to?
   
  a.  The Empire Strikes Back
  b.  Star Wars
  c.  Mad Max:  Beyond Thunderdome
  d.  The Godfather:  Part II
   
  3.  Andrew Tudor asserts that Godzilla can be classified as __________.  That is, in the film the collectivity is threatened, but only from outside, and is ultimately reestablished, usually through the combined efforts of scientists and the government.
   
  a.  nationalism
  b.  secure horror
  c.  anti-utopia
  d.  body horror
   
   
  4.  The American re-edit of Honda’s 1954 Gojira was called __________.
   
  a.  Godzilla
  b.  Godzilla VS. Japan
  c.  Godzilla, Terror from the Deep!
  d.  Godzilla, King of the Monsters!
   
   
  5.  Constance Penley describes the film ________ as a “critical dystopia” because it defamiliarized contemporary Japan rather than extrapolated upon the future of Japan.
   
  a.  Ghost in the Shell
  b.  Akira
  c.  Godzilla
  d.  Nippon chinbotsu
  
  
  
  Download a printable PDF version of this quiz here.

   

    
• 1 2017-07-27T11:15:51-07:00 Discussion: All-Out Attack! 6 plain 2019-08-02T14:31:16-07:00
   

  Discussion

  
  Separate the class into groups of 4-5 students, erring on the smaller size. Assign the following questions to the class and allocate 15-20 minutes for these small groups to discuss. As groups discuss these topics, move among groups and evaluate the content/quality of their discourse.

  Discussion Questions

  1. Spend a few minutes in your group discussing your opinion of All-Out Attack. 
  2. Where can you find representations of the "victim's history" in the film?
  3. What does the monster, Godzilla, represent in the movie?  How is this similar or different to the original Godzilla?
  4. What is the role of women in the film? Has it changed from the original Godzilla?
  5. What connections can you find between All-Out Attack and Grave of the Fireflies?
  6. What is the message about nuclear power, if any, in this film?
  
  Now, have the small groups choose a single member to act as a representative of their micro-discussion. Then, give the groups 3 minutes to write a question for the class that relates to one of the previously discussed questions. During this time, go from group to group and check their question.  
  
  Next, bring the group representatives to the front of the room or arrange all chairs in a circle to facilitate a class-wide discussion. At this point, the group representatives will take turns asking their questions to the class and seeking the other students’ opinions. Give full control of the discussion to the students at this point. The role of the instructor is to evaluate participation and the quality of the discourse. If at any time the students are wandering away from the main topics, interject and course correct them. The following Focal Points are important to cover:
  • It has been nearly 50 years since the original film in the series, and All-Out Attack bases its premise on being the only other film in the same continuity as the original. However, whereas the first film was a commentary on nuclear power, All-Out Attack takes a different stance on the war. Here, Godzilla represents the anger and frustration of the unquiet souls of those who died in the Pacific War.  A key point here is that this includes the dead Japanese, but also all the dead of the other countries involved. This is a fact that is evident in the Japanese version of the film, but is removed from the English subtitles.
  • To make Godzilla seem more sinister and evil, the pupils of his eyes were removed and the spikes on his back were made more jagged.
  • There are still references to nuclear weapons. In the film, a school teacher sees the mushroom cloud generated by Godzilla's nuclear breath. In the Japanese version of the film, she says "Atomic bomb?" but it is not translated that way in the English subtitles.
  • Yuri is an analog to the women of the original film. In 1954, women were the ones to call for complete transparency about the Godzilla crisis. In All-Out Attack, Yuri is the only one to make sure that the Godzilla crisis is publicized.  Again, women are working for the truth while the government/men work for secrecy.
  • It is important to note that the Guardian Monsters do not fight to protect the people of Japan; they are protecting the land of Japan.  Hence, there are casualties due to the "protector" monsters.
  • King Ghidorah is utilized as a "heroic" character here for the first time on film.
  • In Mothra's films, she is often accompanied by two miniature twin females. While absent from this film, there is an homage to them in the twins shown in the shopping arcade as Mothra flies overhead.
  • Baragon first appeared in the film Frankenstein Conquers the World (1965); a joint production between America and Japan.
  • The final scene in the film is a key one. At the bottom of the ocean lies the beating heart of Godzilla, which serves as a reminder that if we again forget about the war and its victims, Godzilla will return to punish us. This is not unlike the ending to Grave of the Fireflies, which saw the spirits of Seita and Setsuko gazing down on modern-day Japan, longing to be remembered.

  Homework

  Assign the following reading as a homework assignment.  Readings are available on repositories such as JSTOR:
  
  “Godzilla and the Japanese Nightmare: When "Them!" Is U.S.”  Chon Noriega. Cinema Journal, Vol. 27, No. 1 (Autumn, 1987), pp. 63-77.
  
  Assign the following quiz.  This quiz can either be assigned as a take-home open book test or given at the beginning of the next class period.  Correct answers are highlighted.
  
  1.  Noriega asserts that the concept of ___________ defines a dynamic in Western culture that extends to the psychoanalytical, anthropological, and historical.  According to this dynamic, the individual and/or society project "what is repressed (but never destroyed) in the self" in order to define or delimit a self.
   
  a.  Otherness
  b.  Replacement
  c.  Body Horror
  d.  Metamorphosis
   
   
  2.  In 1954, America exploded its first H-bomb.  Unfortunately, it was discovered that ___________ was/were also accidentally exposed to the blast.
   
  a.  a small village of people
  b.  a Japanese fishing boat and its crew
  c.  Russian war ships
  d.  a Japanese submarine
   
   
  3.  The Beast from 20,000 Fathoms was the first American film to deal with the topic of ___________.
   
  a.  over fishing
  b.  environmental pollution
  c.  Japanese Imperialism
  d.  nuclear testing
   
   
  4.  Godzilla, the character, is portrayed as _________ in the franchise.
   
  a.  a hero
  b.  a villain
  c.  a natural disaster
  d.  all of the above
   
   
  5.  TRUE or FALSE:  The Godzilla franchise provides a reinterpretation of the past that allows Japan to examine repressed anxieties within a historical context.
   
  a.  True
  b.  False
  
  
  Download a printable PDF version of this quiz here.

  Prepare

  
  In preparation for the next class, assign the viewing of Godzilla Resurgence.

   

    
• 1 2017-07-27T11:15:54-07:00 Discussion: Grave of the Fireflies 6 plain 2019-08-02T14:18:40-07:00

  Review

  Start by asking the class to perform the following:
  • Using your cell phones, find out how much damage was caused to Japan due to the firebombing in World War II (not the atomic bombs!).
  • Find out if any of your classmates had a relative in the war and, if so, where they served and if they have heard any pertinent stories about America's interaction with Japan at the time.

  Discussion

  
  Separate the class into groups of 4-5 students, erring on the smaller size. Assign the following questions to the class and allocate 15-20 minutes for these small groups to discuss. As groups discuss these topics, move among groups and evaluate the content/quality of their discourse.

  Discussion Questions

  1. Spend a few minutes in your group discussing your opinion of Grave of the Fireflies. 
  2. Where can you find representations of community and the in-group/out-group dynamic in the film?
  3. In your opinion, what is the major theme of this movie?
  4. Does the concept of "victim's history" apply to this movie?
  5. Based upon the viewing of this film, what do you think Japan's stance on the war is now?
  
  Now, have the small groups choose a single member to act as a representative of their micro-discussion. Then, give the groups 3 minutes to write a question for the class that relates to one of the previously discussed questions. During this time, go from group to group and check their question.  
  
  Next, bring the group representatives to the front of the room or arrange all chairs in a circle to facilitate a class-wide discussion. At this point, the group representatives will take turns asking their questions to the class and seeking the other students’ opinions. Give full control of the discussion to the students at this point. The role of the instructor is to evaluate participation and the quality of the discourse. If at any time the students are wandering away from the main topics, interject and course-correct them. The following Focal Points are important to cover:
  • The author and director have stated that they do not consider Grave of the Fireflies to be an anti-war sentiment film.  You may have the students debate whether or not that is actually the case.
  • The original novel by Akiyuki Nosaka was a fictionalized version of events that happened to him during the war. Therefore, this film is semi-autobiographical in nature despite being a fictional account.
  • At this time during the war, most students were mobilized to work in factories or on fire brigades to help with the war effort. This is the source of Seita's uniform and also why he and Setsuko are not in school.  
  • The city that serves as our location is Kobe. As the sixth largest city in Japan at the time, it was selected for heavy firebombing.
  • The film is actually a retelling of events by the ghosts of Seita and Setsuko as they relive the tragedy of their young lives. The final scene of the film shows the siblings sitting on a bench looking down at the city. The important part of this scene is that the city they are looking upon is modern day Kobe. The implication is that the ghosts of our past are still here and are watching.  It is a call to the audience to not repeat the horror of war again. A similar theme will be seen in Godzilla, Mothra, and King Ghidorah: Giant Monsters All Out Attack.
  • This film strongly reinforces the in-group and out-group dynamic. While Seita and Setsuko are with their relatives, they are healthy, work well with others, and can survive. However, when they remove themselves from society, by moving into the abandoned bomb shelter, suddenly their lives turn for the worse. They suffer from starvation and steal from others; taking from the group rather than providing for it.  In the end, they perish, expressing the harshest punishment for those that violate the social order.
  • Susan Napier asserts that films like Grave of the Fireflies represent a "victim's history" of Japan. That is, they ignore the atrocities and warlike nature of the country in favor of telling tales of how Japan was victimized. Barefoot Gen is another example of this theme for Napier. However, you may find that students disagree on its application to these films.

  Homework

  Assign the following reading as a homework assignment.  Readings are available on repositories such as JSTOR:
  
  “Transcending the Victim’s History: Takahata Isao’s Grave of the Fireflies.”  Wendy Goldberg.  Mechademia, Volume 4, 2009, pp. 39-52.
  
  Assign the following quiz.  This quiz can either be assigned as a take-home open book test or given at the beginning of the next class period.  Correct answers are highlighted.
  
  1.  Goldberg argues that Grave of the Fireflies is actually a commentary on ____________.
   
  a.  starvation
  b.  violence
  c.  atomic energy
  d.  nationalism
   
   
  2.  Grave of the Fireflies is based on a novel that was authored by _______________.
   
  a.  Akiyuki Nosaka
  b.  Hayao Miyazaki
  c.  Isao Takahata
  d.  Osamu Tezuka
   
   
  3.  Brian McVeigh deduces that the ___________ we see today is connected to the wartime period.   It represents a sense of comradeship and group consciousness and is a marker for group identity and solidarity.
   
  a.  lineage system
  b.  school system
  c.  uniform system
  d.  Japanese system
   
   
  4.  Napier describes Grave of the Fireflies and Barefoot Gen and other WWII-centered films as____________.
   
  a.  tales of tragedy
  b.  victim’s history
  c.  historical revisionism
  d.  loser's history
   
   
  5.  In the Japanese title of the film, Hotaru no haka, what Chinese character is used instead of the standard character for "firefly?"
   
  a.  fire
  b.  bomb
  c.  explosion
  d.  rain
  
  Download a printable PDF of this quiz here.
  
  
   
    
• 1 2019-06-24T17:08:07-07:00 How to Use this Module 3 plain 2019-08-02T11:53:47-07:00 In order to provide for a more student-centered experience, this module is designed as a guideline for instructors, rather than an online course to be taken by students directly. The role of the instructor will be to introduce topical material and then allow the students free-form discussion while guiding them in the direction of specific topics. To accomplish this, popular media such as anime and film will be used to analyze modern Japanese culture and to explore specifically the tremendous effect of World War II upon the Japanese psyche. While your students may already be familiar with anime, this is an opportunity to have them look at the media in an academic sense.
  
  This module is designed to be incorporated in courses related to the study of Japan, East Asia, World War II, history, psychology, or sociology.
  
  Whenever the instructor sees the following picture of the Professor on a page, those pages are designed for the instructor only. Pages without the Professor may be used by the instructor in class to help introduce material.
   
  For each discussion, sample questions will be provided for the instructor to pose to their class as prompts. Allow the students to discuss these questions on their own in small groups. During this time, the instructor should move about the room and sit in with each group for a short time. Then, each small group will choose a representative who will be responsible for expressing their group’s thoughts to the class. Give the students the opportunity to run their own class-wide discussion; the instructor should only interject when the discussion is drifting off topic or to provide relevant information. It should be noted that the representatives are not the only students speaking. They will provide their group’s answer to a specific question and then open the floor to the class’s rebuttal or additional commentary. Allow representatives to select who speaks, and in what order, from the class. 
  
  If this module is being incorporated into an online course, discussion can be facilitated via breakout rooms in synchronous meeting software such as Adobe Connect or Blackboard Collaborate.
   
  The instructor is encouraged to evaluate the demonstration of acquisition of material by the students.
   
  Evaluation of the students is recommended on four fronts:
  • Pre-discussion questions
  • Participation in the discussion (both small group and class-wide)
  • Post-discussion quizzes on readings and films
  • Final essay
   
  In summary, the course flow is:
   
  • Introduce discussion topic and/or film
  • Provide discussion prompts and allow for small group discussion (15-20 minutes)
  • Have groups select a representative
  • Representatives run the class-wide discussion (15-20 minutes)
  • Wrap up the class by reiterating major topic points
• 1 2017-07-27T11:16:03-07:00 Terminology 3 plain 485472 2017-09-15T06:34:13-07:00 manga (mahn-gah)[JPN  まんが{漫画}]:  Japanese comic books.  This can encompass anything from simple four-panel gag comics to extensive, multivolume series.
   
  anime (ah-knee-may)[JPN アニメ]:  Japanese animation.  Differentiated from Western animation (animeeshon).  Made popular in the 1960s in Japan, it has boomed internationally since the 1990s.
   
  Tokyo (toh-kyoh)[JPN とうきょう{東京}:  Current capital of Japan and center of animation production.
   
  Kobe (koh-bay)[JPN こうべ{神戸}]:  Major city in south-central Japan and the sixth largest city in the country.  Heavily firebombed during World War II, it is the setting of the film Grave of the Fireflies.
  
  Hibakusha (hee-bak-shah)[JPN ひばくしゃ{被爆者}]:  People who were exposed to the atomic bomb.  There are four official categories of hibakusha:  1.  those exposed directly to the bomb, 2.  those who were exposed to radiation after entering the city after the bomb, 3.  those exposed to radiation though the disposal of the remains of victims, 4.  those in utero of a hibakusha of the previous three categories.
   
  Hiroshima (hero-shee-mah)[JPN ひろしま{広島} ]:  Major city in south-western Japan.  Spared the typical firebombings in World War II, it became the first site of the use of atomic weaponry in human history.  The setting of the film Barefoot Gen.
   
  Godzilla (god-zill-ah)[JPN ゴジラ]:  The titular monster of Ishirō Honda’s classic 1954 Toho film.  One of the most famous exports of Japan, Godzilla has starred in a multitude of films since the 1950s.  While generally known as the central figure in a series of “monster fight” films, the origins of the creature are steeped in Japan’s war history.
   
  Victim’s History:  A term coined by scholar Susan Napier and defined as how “the Japanese people were seen as helpless victims of a corrupt and evil conspiracy between their government and military.  This ‘victim’s history’ is partly due to the collaborative American-Japanese efforts under the Occupation to create an image of a postwar democratic Japan that would free the Japanese from an inescapable fascist and militarist past.”  Noteworthy due to the tendency to focus on the tragedies perpetrated upon Japan during World War II (particularly the atomic bombings) and an avoidance of discussion of the Japanese aggression during the war (particularly incursions in to China and the Korean peninsula).
   
  In-Group / Out-Group Dynamic:  Central to the Japanese mindset, the differentiation of people into in-groups and out-groups is the major lens through which the Japanese view themselves and others.  The most basic in-group is the nuclear family.  However, there are several layers of groups and they often overlap.  For example, your immediate family is your in-group and your neighbor’s family is an out-group.  However, you and your neighbors are an in-group in comparison to residents from another neighborhood.  The company you work for is an in-group in comparison to the out-group of a rival company, et. al.  This dynamic affects social behavior and even language use for the Japanese.  
  
  The Professor:  Pages which contain the image of the Professor are designed for use by the instructor only.  
  
   
• 1 2017-07-27T11:16:01-07:00 Discussion: Godzilla Resurgence 2 plain 2019-06-26T23:56:39-07:00
   

  Discussion

  
  Separate the class into groups of 4-5 students, erring on the smaller size. Assign the following questions to the class and allocate 15-20 minutes for these small groups to discuss. As groups discuss these topics, move among groups and evaluate the content/quality of their discourse.

  Discussion Questions

  1. Spend a few minutes in your group discussing your opinion of Godzilla Resurgence. 
  2. Where can you find representations of the "victim's history" in the film?
  3. What does the monster, Godzilla, represent in the movie? How is this similar or different to the original Godzilla and to All-Out Attack?
  4. What is the role of women in the film? Has it changed from the original Godzilla and All-Out Attack?
  5. What is the message about nuclear power, if any, in this film?
  6. Godzilla Resurgence is noted as a reboot of the Godzilla franchise. Does it also reboot the intentions of the original?
  
  Now, have the small groups choose a single member to act as a representative of their micro-discussion. Then, give the groups 3 minutes to write a question for the class that relates to one of the previously discussed questions. During this time, go from group to group and check their question.  
  
  Next, bring the group representatives to the front of the room or arrange all chairs in a circle to facilitate a class-wide discussion. At this point, the group representatives will take turns asking their questions to the class and seeking the other students’ opinions. Give full control of the discussion to the students at this point. The role of the instructor is to evaluate participation and the quality of the discourse. If at any time the students are wandering away from the main topics, interject and course correct them. The following Focal Points are important to cover:
  • Godzilla Resurgence is an attempt to reboot the Godzilla franchise for a new generation. It does a good job of analyzing a new and authentic threat to Japan. In the 1950s, weaponized nuclear power was a topic of grave concern to the Japanese following the events at Hiroshima and Nagasaki. However, since the war, nuclear power has become adopted by Japan as its major source of energy.  Nonetheless, after the events of the 2011 Fukushima Daiichi Nuclear Power Plant disaster, the subject of nuclear power and its safety is once again on the minds of the people  Godzilla, the creature, represents this, once again.
  • Much like the original film, the beast Godzilla is represented as a neutral biological creature with no morality or motivation.
  • A major focus of the film is the seemingly unending bureaucracy of the Japanese government. Attention is placed upon multiple meetings where blame is exchanged but no solutions are generated. The delay in action created by these meetings exacerbates the damage caused by Godzilla. This is an important critique of the governmental system (which trickles down into the world of business, as well) of Japan. Ultimately, the Japanese are loath to make solid decisions as it makes the person who decides stick out from the group, thus breaking the harmony of community.
  • At the end of the film, Godzilla is successfully frozen in place and prevented from causing further havoc. The characters of the film agree that they must live with Godzilla now. This is an important moment as, if we take Godzilla to again be the representation of nuclear power, we are now shown that we must live with nuclear power in the society we have created for ourselves. Therefore, like the nuclear power plants all over the country, the Japanese must comprehend and accept the fact that what may destroy them is also the key to their survival.
  • In terms of the "victim's history," it could be said that this film utilizes that concept in a way to deny culpability for nuclear meltdowns even as nuclear plants are the primary energy generator in Japan. That is, they are attacked by a beast (i.e. nuclear power), rather than it being a creature that they have had a hand in creating.
  • In the film, the United States is blamed for covering up information that could potentially have predicted Godzilla. This echoes the original film as blame is placed upon the U.S. for their nuclear testing in the generation of the original Godzilla.

  Homework

  Assign a culminating short essay with the following prompt:

  Write a minimum of five to seven full pages [5-7] on Dragon Head, Godzilla, Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack, Grave of the Fireflies, Barefoot Gen, Godzilla Resurgence and the assigned readings and how the Japanese view community and their history. What do these films tell us about Japanese culture and society? How do the Japanese view themselves regarding these themes and what evidence do you have of their expression of these views? Craft a hypothesis and support with evidence from the films and assigned readings.

   
  For example, we see many repeated apocalyptic and destructive images in Japanese popular culture. Why? The answer to "why?" should help you craft your thesis statement. You do not have to discuss all themes; you may pick one main topic.
  
  Example Thesis Statement:  Because of its emphasis on group belonging, Japanese culture has led to a proliferation of works that are fascinated with the shaping of individual identity. These works explore the nature of how individual identity is constructed in relation to dominant emphasis on group functioning, blatant resistance to that norm, a changing society, and finally as an internal state.