Japanese Films That Indoctrinate

Japanese Films That Indoctrinate

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Japan averages under one murder per hundred thousand people annually, with other violent crimes barely registering. The United States averages 5-6 murders per 100,000 people, per annum. This shows Japan to be one of the least violent countries, since the advent of World War II.

Japanese people have been trained, however, by the movie industry, with the ultimate apocalyptic event, since the mid 1950's. If any nation has received an extended course in post-traumatic psychology and disaster preparedness, it is Japan.

One researcher claims that once you start searching for disaster-trauma in Japanese films, it is discovered everywhere, disclosing what is thought to be a widespread obsession with national disasters.

Beginning with the results of 2 A-bombs being dropped on their country in World War II, the obsession with disaster-trauma is thought to reflect a stoical people who do not fear facing the reality of death and destruction.

The third world's largest economy is well equipped for a huge earthquake. The current triple disaster however, of the world's biggest earthquake, followed by a massive tsunami, including the threat of a nuclear disaster with the resulting nuclear fallout, is more than any country can be expected to cope with.

In the movies the hero always wins through in the end, as is seen in:
The plucky little robot warrior; Astro Boy, Gamera, Mothra and their friends, Godzilla.

The original film was created from a real-life incident of the poisoning of a Japanese trawler crew via an American thermonuclear device tested near Bikini Atoll.

Grave of the Fireflies and Barefoot Gen relived the terror of August 1945 to a new generation, in case they forget.

Secret government projects, vain and corrupt scientists, including underground biker gangs, reign over Akira, which depicted nightmarish chaos in a dystopian city of the future.

Tetsuo the Iron Man who changes into a machine, with formal disorientation and technological-psychological terror, created a series of techno-Kafka nightmarish pop culture following.

Princess Mononoke blends myth and Japanese fairy-tale, highlighting the madness and arrogance of human behavior and gives the feeling that the fragile balance of day to day living is always poised on the very brink of destruction.

Eureka represents a nation haunted by its traumatic past and paralyzed by horror of the future.

While weaving in a soul-sucking website that makes people disappear, Pulse relives the nuclear disaster.

Fish Story offers a mid-70s punk that rescues the earth from destruction, portraying a Japanese society that will outsurvive all destructive forces.

For the last four decades the Japanese people have sat in their cinemas, watching apocalypse after apocalypse on the silver screen, but they always had a hero to the rescue.

There is no hero to the rescue in the real-life scenario currently being played out, except for the sheer stoicism of the Japanese people themselves. The films did not come anywhere near the reality.

About the Author:
Dr Wendy Stenberg-Tendys and her husband are CEO's and founders of YouMe Support Foundation, providing high school education grants for children who are without hope. You can help in this really great project by taking a few minutes to check out the Sponsor a Student program at (http://youmesupport.org). It will change the life of some really needy kids in the South Pacific.
Feel free to contact Wendy on admin@youmesupport.org



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