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  1. 2 Kwartalnik Filmowy

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  1. 2 2008

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  1. 1 Kamrowska A.

  2. 1 Loska K.

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1

Children of the apocalypse: The atom bomb trauma as a theme in Japanese Anime

100%
Kamrowska A.
Kwartalnik Filmowy
|
2008
|
issue 61
112-122
EN
The question of depiction of the explosion of the atom bomb in Hiroshima and Nagasaki is a part of a wider problem area of tragedies of such proportions that go beyond what is humanely possible to express. And yet the tragedy of the victims demands to be addressed and described. This is exactly what, many years after the end of the war, the Japanese anime artists are attempting to do. Within the genre of anime one can identify two main approaches to the nuclear attack. One of them, as portrayed in the graphic novel and later a film 'Barefoot Gen', is the report of a survivor - hibakusha - recalling his or her own experience and memories. The second approach to the trauma is to refer purely to the description of the tragedy. This approach is for example taken by authors born after 1945, who came to know of the tragedy solely through literature, documents and film. Their visions, contained in films such as 'Akira', 'Neon Genesis Evangelion', or the 'Wolf brigade', realistically demonstrate the moment of the explosions. By removing the historical background, the artists concentrate on the social and psychological impact of the tragedy, which to this day is present in the collective consciousness of the Japanese people.
2

Traumatic identity in Japanese films about the atom bomb

100%
Loska K.
Kwartalnik Filmowy
|
2008
|
issue 61
101-111
EN
The author starts his article by defining trauma, its causes and relation to mass killings and its impact on the human psyche. He then relates that to the theme of hibakusha - or the victims of the atom bombs that fell on Hiroshima and Nagasaki in 1945, the people who, although escaped death, suffered from radiation sickness, infertility and post traumatic stress disorder. The author seeks out signs and symptoms of this mass experience of trauma in films, such as 'Genbaku no ko' , Kaneto Shindo, 1952, 'Children of Nagasaki' (Nagasaki no ko), Sotoji Kimura, 1957, 'Hiroshima, mon amour', Alain Resnais, 1959), that deal directly with wartime events, but also in films that are more allegorical in the way they present fear of nuclear mass destruction (Godzilla /Gojira/, Ishiro Honda, 1954), as well as films that deal with the problem in a less direct way. (For example Akira Kurosawa's 'Dreams' (Yume, 1990) and 'Rhapsody in August' (Hachigatsu no kyoshikyoku, 1991). The Author points out that filmmakers dealing with the Hiroshima and Nagasaki tragedy faced the enormous problem of expressing or rather the inability to express, that which is beyond reason and simple thought categories.
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