The Asahi reports that Prime Minister Junichiro Koizumi, while having a dinner meeting with attendants including LDP Secretary General Tsutomu Takebe on the evening of July 6th said, “I’m glad that the Taepodong didn’t come flying while I was at Elvis’s estate.” One attendee said in response, “The Prime Minster does have good luck,” to which several others agreed.
Earlier post on the PMs visit to Graceland here.
Well, that may be what the mainstream media wants you to believe, but come on-we ARE talking about a Philip K Dick ANDROID here! How could anyone familiar with the man who wrote A Scanner Darkly, Valis, Ubik, The Man in the High Castle, and of course We Can Build You, which stars a cybernetic simulacra of Abraham Lincoln think that a robot containing a complete copy of his surviving records was merely stolen, like a mere piece of luggage? I fully expect to see this android again. My guess: the Replicant Liberation Front freeing their spiritual leader.
The following is slightly modified from a response to an e-mail I received requesting recommendations for good “films on Japan” such as Lost in Translation of The Last Samurai.
The recent double threat of Lost in Translation and Last Samurai (but not the dud Memoirs of a Geisha), like some other popular Japan-themed films, were all good, entertaining movies, but I never felt like any of them gave me much insight on my experiences in Japan. As an alternative, I present my picks, in descending order of how highly I recommend them, that weren’t necessarily the best-made or most purely entertaining, but nonetheless got me thinking about the US-Japan relationship or the experiences I had while I was (ostensibly) studying there:
Fog of War (2003) – Essentially a long interview with Robert McNamara, Secretary of Defense under Presidents Kennedy and Johnson and WW2 vet who helped orchestrate the firebombing of Japan in 1945. The movie is great on so many other levels, but I recommend this to those studying Japan for the sections that talk about “proportionality in war” and the wholesale bombing of Japan. America destroyed a majority of most of Japan’s cities and capped it off with two atomic bombs. Consider this – the US visited upon Japan heretofore untold destruction and chaos. McNamara asks: was this proportional to US aims? Having watched this movie, it makes perfect sense to me why many Japanese seem to treat visiting Americans as if the GHQ were still around. The film serves as a good conversation starter and a challenge to the bland rationalizations that Americans learned in their US History classes in high school.
Seven Samurai (1954) – I am in no way a film buff (look at my other recommendations!), but this movie is one of the best action movies I’ve seen from any country. Seven guys, and they all get a chance to kick some ass. This film is all about being a man, so ladies should probably stay away- that is, if they can resist the mysterious allure of Toshiro Mifune.
Mr. Baseball (1992) – Tom Selleck plays an aging Yankee sent to play for Chunichi Dragons. Hates it, won’t listen to coach, but in the end learns to work within the system while teaching his stuffy coach a thing or two and, of course, sleeping with his daughter. All you male ALTs out there could only hope to be so lucky! Then again, none of you are Tom Selleck. For better or worse, this is considered to be a pretty well-done “American fish out of water in Japan” movie. Even though the plot is something of a gaijin fantasy, it’s a generally true-to-life portrayal of Japan that can at the very least serve as a heads-up to some of the more obvious culture shocks (squat toilets, low doors, weird guys screaming strange English at you).
Whispers of the Heart (1995) – This is a movie from Ghibli Studios (think Princess Mononoke) about a little girl who falls in love with a fiddle-playing wunderkind and finds mystical guidance from a magical German cat. Boring! Forget the story and take in the sights as she walks around a lovingly and painstakingly detailed animated depiction of suburban Japan. I’d recommend this more to returnees than newcomers, but this movie could come in especially handy during those inevitable “Japan-hating gaijin” periods. I mean, if the Miyazaki crew could find this much to love about Japan, then there’s got to be some good stuff left over for little old you, too. One thing that didn’t sit right with me about WOTH would have to be the “dealing with your own mediocrity” theme that is featured in this movie and common elsewhere in Japanese pop culture (See “Sekai ni Hitotsu Dake no Hana” by SMAP). Call me an idealist, but I’m not ready to give up that easily, and neither should young Shizuku!
BTW, this movie turned me into a John Denver fan, and if watching it doesn’t make you a convert, then you should at least understand why so many Japanese people like him.
MXC – Show on Spike TV that’s a (loose) dub of an older Japanese show featuring host Beat Takeshi as he presides over the painful experiences of contestants in a brutal obstacle course game show. I can imagine nothing more humiliating in life than being run over by an enormous, papier-mache boulder and then being fire hosed by a Power Rangers villain as punishment. This should serve as a great introduction to Japan’s culture of humiliation, pointless endurance, and unabashed gaudiness. Sadly, this type of stuff is no longer typical of Japanese TV (at least when I was there, lots of tame talk shows, eating shows, and dating shows – though it looks like pain TV seems to be making something of a comeback these days).
Gung Ho (1986) – Funniest scene in this movie is the corporate re-education camp in the beginning (ribbons of shame, anyone?). Michael Keaton plays a union leader in the Midwest who convinces a Japanese auto company to take over a shut down factory. The American workers, including George Wendt of “Cheers” fame, get uppity when the Japanese managers expect them to work with no sick time or human dignity, as Japanese supposedly do. Never mind that real managers at Japanese auto factories in the US never tried this in real life. The plot twists this way and that, but eventually the workers make a near-impossible promise to become as productive as any Japanese plant within a month – Can they do it? Yes, sort of. The message? If only American auto workers would give up their silly unions and work themselves to the bone, then the jobs would stay. The movie suffers from some annoying performances, one-dimensional characters, and bad writing in general, but it is still worth watching just to see how scary Japan was to the US back in 1986. We let go of those fears a bit too early, if GM’s fate is any indicator.
Bad News Bears Go to Japan (1978) – The always-annoying Bears go to Japan to play an exhibition game at the urging of a scheister TV producer, and literally everyone ends up getting ticked off in the process, especially the audience. Recoil in horror as a 13-year-old “bad boy” (signified by a peach-fuzz mustache IIRC) Bear creepily stalks and tries to force himself on an unsuspecting Japanese girl. It’s pure dreck, full of unapologetically racist and willfully ignorant sentiment, and almost unwatchable. Why do I recommend it, then? Because this is probably how your mom and dad see Japan. Redeeming quality: wrestling legend Antonio Inoki makes an appearance. Grunting, fuming Antonio Inoki, folks. His shtick hasn’t changed a bit in the almost 30 years since this movie was made.
I stopped at Book Off, that wonderful oasis of a Japanese used bookshop in midtown Manhattan, on my way home from Connecticut last weekend. I wasn’t intending on actually buying anything, but the first all 4 issues of Osamu Tezuka’s manga Adolf (Adorofu ni Tsugu) at a dollar apiece were too tempting to pass up. It’s an interesting work of historical fiction that answers the question: “What if Jews living in Kobe during World War 2 found definitive proof that Hitler was 1/4 Jewish?” As someone relatively unfamiliar with Tezuka’s work, I’ve been surprised to see depictions of torture and mass murder peppered throughout – I had thought he traded mostly in cute robot boys and little lions, but if you look at his bibliography he’s pretty freakin’ prolific!
What caught my eye, though, was this disclaimer at the end of the first volume (loosely translated):
In this “Complete Works of Osamu Tezuka (published in 1996), the images of many foreigners, mainly blacks and Southeast Asians, make an appearance. Some of those images depict those people as they were when their countries were undeveloped or exaggerate past eras and differ greatly from the present situation. Recently, there have been claims that such depictions are racially discriminatory toward blacks and some other foreigners. As long as there are people who feel uneasy about these images or feel insulted by them, we believe we must seriously listen to those opinions.
However, the exaggeration and parody of people’s features is the most important method of humor for comic books (manga). This is especially prevalent in Tezuka’s works, so people of many countries are the subject to parody. Further, beings from the animal kingdom to the world of the imaginary are very humourously caricatured, not only humans. Not even the author’s self-portrait is an exception to this, with his nose drawn several times longer than it actually is. Also, the author is a person who always and continually held the belief that all hatred and conflict is evil, including that between the civilized and uncivilized, advanced nations and developing nations, the powerful and the weak, the rich and the poor, and the healthy and the sick – beneath his stories runs a strong “love of humanity.”
The reasons we have ventured to print the “Complete Works of Osamu Tezuka” are that the author has already passed on and therefore cannot edit his works. Not only would a third person changing the work of the dead would pose a problem in terms of the person’s dignity, but also cannot be considered an appropriate measure to deal with the problem at hand, and not only that, we have a responsibility to protect works that are regarded as the heritage of Japan’s culture. From the beginning, we oppose all discrimination and will work to eliminate discrimination. We believe this is the responsibility of a publisher. We hope that readers, too, will use this Tezuka work as an opportunity to recognize the fact that various discrimination exists and deepen understanding of this issue.
So, Tezuka’s manga aren’t discriminatory but should be used as an opportunity to reflect on the issue of racial discrimination? Sure, Kodansha. Maybe you’ve gotten smarter in the last 10 years, but I kind of doubt it.
This comment is a direct reaction to moves by a group in Japan called “The Group to Eliminate Discrimination Against Blacks,” a fairly sanctimonious group that originally started without a single “black” member to its name. The group claimed that Tezuka’s “Kimba the White Lion” included racist depictions of black Africans and demanded it be changed to reflect a more culturally sensitive era. The move resulted in the removal of Kimba panels from several museum exhibits dedicated to Tezuka. Indicative of Japan’s general isolation from global debate in general, majority public opinion in Japan seems to be against a movement to eliminate discrimination against blacks led by a hypersensitive NGO.
Unfortunately, I haven’t been able to find any images online that demonstrate the sharp “satire” of Osamu Tezuka, but I wouldn’t be surprised if we saw a few bones through noses in Kimba the White Lion. Next time I’m in Japan or Book Off I’ll be sure to look out for them.
For the record, I have yet to encounter any stereotypical-type images in Adolf, though one of the Nazis is deliberately depicted as lizard-like to emphasize how evil he is.
The following brief article was in Saturday’s Japan Time.
SHIZUOKA (Kyodo) A 17-year-old girl admitted at the Shizuoka Family Court that she poisoned her mother with thallium, reversing a denial she made following her arrest in October, sources close to the case said Friday.
“I made my mother take thallium,” the sources quoted the girl as telling the court. Thallium is a highly toxic substance used in rat poison and other pesticides. The mother is in a coma.
The family court will decide by next Tuesday whether to send her back to prosecutors to face criminal charges or to send her to a juvenile correctional facility.
The girl, a prefectural high school student, was arrested Oct. 31 on suspicion of attempting to kill her 48-year-old mother at their home in Izumonokuni, Shizuoka Prefecture, by putting thallium in her food between August and October that year.
The girl’s name is being withheld because she is a minor.
Unfortunately, the Kyodo piece leaves out pretty much everything that makes this story so grimly fascinating.
What they don’t say is that the girl had been poisoning her mother in emulation of Graham Young, whose real life story of experimentation with poisoning schoolmates and relatives as a teenager was made into a movie called The Young Poisoner’s Handbook, which I rather enjoyed when I saw it several years ago without knowing that it was based so closely on a true story.
To make the story even more disturbing, the girl had kept an anonymous blog which included details on the progress of her mother’s condition as she was slowly being poisoned. While she never quite said that she was responsible for her mother’s condition, someone who had read the journals of her earlier experiments with using poison on rodents would probably be able to draw the correct conclusion from her disquietingly cold tone.
The Times (UK, not NY) has a more extensive and rather good article about this story from a few months ago, shortly after the girl was arrested. The end of the article includes the following brief excerpts from the girl’s journal, as well as some stats on Graham Young.
WEB DIARY OF A HIGH SCHOOL GIRL
July 3
“Let me introduce a book: Graham Young’s diary on killing with poison. The autobiography of a man I respect. He murdered someone at the age of 14.”September 4
“To kill a living creature. The moment of sticking a knife into something. The warmth of the blood. The little sigh. It is all a comfort to me.”September 26
“My mother will go to hospital tomorrow and nobody has yet found out what the cause is. To my regret, she is not covered by good insurance, so life will be a little difficult.”October
“I took a photo of her today as I did yesterday. My brother said I had a penetrating stare and that he was horrified.”October
“According to my aunt, my mother has started having hallucinations. She seems to be suffering from insects that don’t exist or white shadows by the door.”GRAHAM YOUNG
* As a child he was fascinated with poisons and their effects, and the Nazis, becoming a worshipper of Hitler
* In 1961, at the age of 14, he started to poison members of his family, enough to make them violently ill
* In 1962 his stepmother died of a lethal dose. Young was arrested and jailed for 15 years for the attempted murder of his father, sister and friend
* On his release in 1971, he found a job and poisoned several co-workers, killing two of them. He was convicted in 1972 and given life
* He was dubbed the Teacup Poisoner but wanted to be known as the world’s poisoner. He died in 1990
* The film The Young Poisoner’s Handbook (1995) was based on him
Now, the girl’s blog was of course erased from the web server upon its public discovery after her arrest, but luckily for us the administrators did a terrible job of cleaning up after themselves, and some wonderful Japanese netizen used a combination of various search engines and caches to reconstruct the entirety (or at least close to it) of both of the girl’s journals.
If you have the ability to read Japanese and a taste for the macabre, a mirror of the original journals as well as a collection of other materials related to the case can be found here.
I’ve been thinking about translating them ever since I discovered the site a while back, but since I haven’t done it yet I shouldn’t make any promises.
I can’t believe I’m going to see this guy next week:
The word “robot” is said to have come to us from the Czech word robota, which means “labor” or sometimes even “drudgery,” and thus is a word that originally carried a negative connotation.
But through Japan’s Astro Boy or the cat-like robot Doraemon, the meaning of the word “robot” shifted, instead becoming a benevolent friend who helps human beings. In Asia and elsewhere around the globe, robots came to be understood as the “white hats” -the good guys.
The impact of this situation is that countries with an affinity for Doraemon do not have workers who reject industrial robots, and thus in those countries, industrial productivity rises. In addition, you find that Japanese-made industrial robots sell well.
Yaskawa Electric Corporation and the other firms of Japan’s “big three” hold a market share of half the global market in the area of robots for welding or applying coatings. Of course, Astro Boy and Gigantor-what we in Japan know as “Tetsujin 28”-are there in the background to all this. In other words, what created the climate in which all this could take place was Japanese culture, and I am continually speaking of culture’s significant contributions in this area.
(Picture: Aso – 2nd from left – giving some kind of award to Bulgarian sumo wrestler Kotooshu (I’ll let you guess which one he is))
I was intrigued to note that the classic WWF’s own Iron Sheik is actually known by his real name, Khosrow Vaziri, in Japan. Apparently, the former bodyguard for the Shah did not get the same villainous characterization in Japan.
Of course, the Iron Sheik has popped back into the public eye with the release of some amazing interviews with him:
↑ This shit is CLASSIC, people.
I guess the official English title of this is “Wizard of Earthsea” but the title I’m using is a direct translation of the Japanese title, Gedo Senki. Anyway, here is the section of Yomiuri’s interview with Ghibli Studios producer Toshio Suzuki relevant to the issue I care about: why Hayao Miyazaki was against his son directing this film! (Interview is from 12/26/2005)
UPDATE: More info on the film in English at the Ghibli site by the book’s English translator. And apparently someone already posted a translation of this interview, but mine is much better.
Q. Why was Goro-san chosen as director?
Suzuki: The precondition of all this was the future of Ghibli. Isao Takahata is 70. Hayao Miyazaki is almost 65. Together they’re 135! Add my age in there and it gets close to 200 (lol) ! At this rate it will be the end of Ghibli. However, this company was created because they wanted to make movies as a pair, and I am also satisfied with this. There is a part of me that thinks “this might be enough” but we also have a responsibility to the young people who are a part of the studio, after all. However, Hayao may be a genius on the creation end, but he is not necessarily good at teaching. If you drive with him in the passenger side, you’ll understand. He keeps saying stuff on the side, so most people end up getting neurotic about it. I have seen it in the production stage many times, since different people were slated to direct “Kiki’s Delivery Service” (1989) and “Howl’s Moving Castle,” but eventually Hayao took the helm. Of course there is no ill-will from Hayao. But there are actually people who ended up with ulcers (lol). That is why I thought of Goro. With him, I figured it might go well.
Q. But, he has no animation production experience…
Suzuki: That didn’t bother me. Even when he created the Ghibli Museum following Hayao’s drawings, he might have had landscaping experience, but he didn’t have any construction experience, did he? First of all, I think that if anyone can observe they can draw. That comes from when I was making the magazine “Animation Monthly.” I would have editors who normally did not draw do self portraits for their editor’s notes. They all said it was impossible at first, but once they started carefully observing their faces, they were able to finish drawing [the self portraits]. What’s more, there was enough appeal to have them work their hardest. Goro often drew caricatures during meetings, so I thought that he, as someone who can observe, could draw pictures.
Q. Did Goro always have an interest in animation?
Suzuki: I don’t know. Normally, people dislike working near their fathers, but there was probably an interest in his father’s work somewhere. I felt that when he accepted the job at the Ghibli Museum.
Continue reading Interview with Producer Toshio Suzuki of “Ged War Journal” – Suzuki finally tells tells us: “Why Goro?”
