Tag: post-war

Japan’s ‘Moral Re-Armament’ Movement: Continuity from World War to Cold War

After Japan’s defeat in the Second World War, many Japanese politicians and public figures revitalized militaristic language for the formation of a world federation to bring about global peace and for the defeat of Communism. This was the Moral Re-armament Movement and it was led by figures like Kagawa Toyohiko, the vice president of the League for the Establishment of World Federation (later called the World Federation Movement).1 Although Kawaga redeploys militaristic metaphors of war-time Japan, his domestic analogies were aimed for a spiritual (rather than literal) battle against communism. Through this anti-communist framing, he was able to avoid censorship from the US occupied force.2 His speech to an audience in Kobe was published in the local newspaper Kobe Shinbun despite being ripe with Showa Era imperial messaging.

‘If Japan disarms… it will perhaps shame the United States into abandoning its own weapons. Japan can lead the world, spark a moral movement, achieve the dream of a Greater East Asia, and bring all eight corners of the world under a single roof’ (Kagawa Toyohiko 1945).3

After seeing the devastation of war and the horror of the nuclear attacks on Hiroshima and Nagasaki, Japanese thinkers increasingly embraced pacifism, disarmament, decolonization, and nuclear deproliferation. They also recognized the unique capacity Japan would have in bringing about international peace through the formation of a World Federation. Fascinatingly, this utopian vision echoes the pre-war universalism, manifested in Pan-Asianism, which justified the imperial expansion of Japan and its Greater East Asia C0-Prosperity Sphere for world peace.4

Although there are countless examples of Japanese thinkers (including Kagawa) across a range of political spectrums, adapting their universalist messaging for Japan’s Imperialism, none are as unique as Kita Ikki. Kita was a writer who is considered a core influence in the creation of Japanese fascism.5 Western historians often consider him ‘right wing’ but he doesn’t necessarily fit into these traditional categories.6 Ikki espoused ‘Social Democratic’ principles like social reforms, democracy, enfranchisement, and gender equality while also stressing the need for Japan, led by its emperor, to expand and protect these universalist ideals abroad, through force, especially in China.7

However this militaristic language for Japan’s expansion was also anti-imperialistic, criticizing the Western colonialists like Britain and the Meiji Restoration for replicating it.8 Kita Ikki’s Pan-Asianism stresses the unique capacity of Japan to protect Asia from the West through a Japanese led “Asian Monroe Doctrine”, allowing nations to come to their own ‘national awakening’, or revolution, without Western pressure.9 In this way Japan could progress world history by bringing world peace and prosperity to Asia through expansion – this being the nation’s “moral destiny”10.

This utopian vision, ripe with militaristic language and humanist idealism, emphasizes the complexity of the Japanese imperial ideology. Unlike other writers of the time, Kita stressed the reality of his ideals; Force and blood were needed to form an Asian Federation, however this would eventually create peace and prosperity.11

The legacy of Japanese militarism and its ‘moral’ role in the international community would persist post WW2. Kagawa would draw on the power of the Japanese national morality or ‘Kokutai’. However, just as the meaning of Kokutai changed to fit a war time expansionist agenda, Kagawa would use it for a demilitarized Japan and its Moral Re-armament.  The World Federation Movement, during the Cold War’s ideological ‘fight’ against communism, represents the adaptability of Japanese thought to fit new political contexts.

  1. Lawson, Konrad. ‘Reimagining the Postwar International Order: The World Federalism of Ozaki Yukio and Kagawa Toyohiko’ (2014):9 [↩]
  2. ibid., p. 12 [↩]
  3.   ibid., p.11 [↩]
  4. ibid., p.2 [↩]
  5. Wilson, George M. ‘Kita Ikki’s Theory of Revolution.’ The Journal of Asian Studies 26, no.1 (1966):89. [↩]
  6. ibid [↩]
  7. Tanka Brij, ‘Kita Ikki and the Making of Modern Japan.’ Global Oriental (2006) [↩]
  8. Tanka Brij, ‘Kita Ikki and the Making of Modern Japan.’ Global Oriental (2006): 200. [↩]
  9. ibid., p. 87. [↩]
  10. ibid., p. 212 [↩]
  11. Wilson, George M. ‘Kita Ikki’s Theory of Revolution.’ The Journal of Asian Studies 26, no.1 (1966):95 [↩]

The creation of modern Japanese science fiction through utopian fiction and the Second World War

 

Today, East Asian, and especially Japanese, science fiction and popular culture is immensely popular in the West. As Bolton, Scicery-Ronay Jr., and Tatsumi point out, this wave of science fiction from Japan was reliant on newer forms of communication, like television, video games, etc., while also being prominent in more traditional forms such as books.1 However, the cultural explosion happening in post-war Japan did not happen in isolation. According to Yoriko Moichi, Japanese utopian (and dystopian) literature is heavily influenced by Western utopian literature introduced after the Meiji Restoration and the subsequent opening up of Japan.2 Moreover, the modernisation and industrialisation happening in Japan both after the Meiji Restoration and after the war also impacted the post-war boom of science fiction. Lastly, the horrors of the Pacific War itself also helped to cement more dystopian and moralising science fiction at the forefront of the post-war movement, which then resulted in the initial popularisation of Japanese science fiction in the West.

 

Yoroki argues that the bleak science fiction created right after the war was dystopian because the war made a utopian society impossible to imagine, and that the futuristic and industrial science fiction literature of this period was ‘a little light weight’.3 This may be so, but the science fiction that was created as a direct result of the war did not only appear in traditional literature but also in the newer ones, thus resulting in a post-war dystopian culture which proved to be immensely influential. The most obvious example of such a post-war work of science fiction is the 1954 film Gojira, or Godzilla, King of Monsters!, which opened the floodgates for the subsequent popularisation of Japanese science fiction in the rest of the world. There is little doubt that Gojira is a representation of the horrors endured by the Japanese towards the end of the war. The monster is even awakened from his sleep by American nuclear testing in the pacific, alluding strongly to wartime America and its nuclear bombs. The film is also a strong critique of U.S.-Japanese post-war relations where Japan is being coerced by, and also collaborating with, the monster from the sea.4

 

The massive popularity of dystopian science fiction in new mediums in the years after the war thus led more of it, and more of it being exported to other parts of the world. With the technological and economic advancement of Japan in the 1970s and 80s the genre evolved into a more futuristic one, but there was still a strong dystopian element to it, as can be seen in famous an influential works such as Akira (1982/1988) and many others.5 Today, the world of Japanese-inspired science fiction is, of course, not always dark and dystopian, but much of it – and maybe the best of it –have strong dystopian elements. Thus, the utopian literature popularised in Japan after the Meiji restoration in conjunction with the horrors of the war and subsequent introspection in Japan created an initially distinctive, and highly influential genre of science fiction which has subsequently been hugely popular across the world on a plethora of different media.

  1. Bolton, Christopher, Csicery-Ronay Jr., Istvan and Tatsumi, Takayuki, Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime (Minneapolis, 2007), p. vii. [↩]
  2. Moichi, Yoriko, ‘Japanese Utopian Literature from the 1870s to the Present and the Influence of Western Utopianism’ Utopian Studies 10, (1999), pp. 90-91. [↩]
  3. Ibid., p. 95. [↩]
  4. Igarashi, Yoshikuni, Bodies of Memory: Narratives of War in Postwar Japanese Culture, 1945-1970 (Princeton, 2000), pp. 115-118. [↩]
  5. Bolton, Scicery-Ronay Jr., and Tatsumi, p. ix. [↩]