Titlebook: In Godzilla‘s Footsteps; Japanese Pop Culture William M. Tsutsui (Professor of history),Michiko Book 2006 Palgrave Macmillan, a division o

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Eric C. Rathrrency are not yet sufficiently developed. This volume presents a comprehensive study of Mazurkiewicz‘ trace theory from an algebraic-combinatorial point of view. This theory is recognized as an important tool for a rigorous mathematical treatment of concurrent systems. The volume covers several dif

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Introduction,tes internationally; Japanese video games and television series claim devoted followings from Cambodia to Copenhagen; New York City has recently been as charmed by the . chic of Murakami Takashi’s “Little Boy” exhibition as the home run-hitting prowess of Hideki Matsui; sushi is readily available in

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Mobilizing ,: Mourning Modernity as Monstrosity, and Yoshikuni Igarashi, have turned toward historicizing the film in relation to memories of the Asia Pacific War and the cold war.. While trying to sustain their attention to struggles over constructions of the Japanese and American past in the present, particularly as regards the issue of mournin

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, as Japan’s First Postwar Media Event,at has an obvious multicultural appeal and spawned a series of similar movies for more than five decades? My own understanding of . (1954) is from the perspective of a bridge between Japan’s imperial war from 1931 to 1945 and the postwar. In my work on the cultural and political continuities between

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Wrestling with Godzilla: Intertextuality, Childish Spectatorship, and the National Body,d of how that film intersected with many contemporary issues and texts, ranging from the H-bomb testing in the Pacific to ., thereby formulating a popular cultural reaction to the atomic bomb, America, World War II, and the cold war. Recalling such original intertexts, however, should not serve to c