Transnational Asian Masculinities. Hong Kong: Hong Kong University Press, 2023. US$51.00, cloth. ISBN 9789888754274.
Amanda Weiss’s book Han Heroes and Yamato Warriors: Competing Masculinities in Chinese and Japanese War Cinema offers an exploration of World War II memories in Chinese and Japanese films. It is organized into six chapters, each exploring various aspects of how these films construct and convey national identity, historical trauma, and gender roles. Weiss, a scholar specializing in East Asian cinema, gender studies, and cultural memory, examines how film and media shape cultural and historical narratives in China and Japan, focusing on themes such as national identity, masculinity, and trauma. To begin, the introductory chapter, “Introduction: Remembering the War On-Screen,” sets the stage by discussing the importance of war memory in these countries. Weiss explains how films serve as technologies of memory, enabling viewers to engage emotionally with historical events. This chapter is divided into four sections. The first, “Film as a Technology of Memory,” introduces the concept of “prosthetic memories,” which help viewers experience events they did not personally witness. The second, “War Films as (Trans)National Memory,” examines the role of war films in shaping national and transnational narratives. The third, “‘Manly States,’” explores hegemonic masculinity in war cinema, and the final section, “The Memory Loop,” discusses the reciprocal influence between national and global media.
The second chapter, “The Tokyo Trial On-Screen: Establishing the Foundational Narrative,” examines the portrayal of the Tokyo Trials and their impact on national memory. Divided into three sections, the first, “MacArthur’s Japan,” focuses on General MacArthur’s influence on Japanese postwar identity. The second, “Gong’an Retribution,” explores Chinese films depicting the trials as retribution for Japanese aggression. The third, “‘A Continuous Retrial,’” discusses how contemporary films reinterpret the legacy of the Tokyo Trials, reflecting evolving perspectives on justice and national identity. The third chapter, “New Heroes in Chinese and Japanese Combat Films,” explores the portrayal of male soldiers as national heroes, reflecting and shaping national identity and masculinity. The first section, “Masculinity and Nationalism,” examines the link between heroism and national pride, analyzing how films use heroic figures to construct national identity. The second section, “‘Marketized Socialist Heroes,’” focuses on the commercialization of heroism in Chinese cinema, balancing socialist ideals with market demands. The final section, “‘Uneasy Warriors,’” addresses the complex depiction of Japanese soldiers, who grapple with guilt and honour, reflecting societal anxieties about Japan’s wartime past. The fourth chapter, “Contested Images of Wartime Rape,” addresses the portrayal of wartime sexual violence and its implications for national identity. The first section, “Rape, Gender, Nation,” examines how rape is depicted as an assault on national honour. The second section, “‘The Rape of a Motherland,’” focuses on Chinese cinema’s portrayal of rape as a metaphor for national suffering. The final section, “Rape and Japanese Masculinity,” explores Japanese films’ handling of wartime sexual violence, highlighting themes of guilt and responsibility.
The fifth chapter, “Gender and Reconciliation in Sino-Japanese Melodramas,” explores how melodramatic narratives facilitate reconciliation between China and Japan. The first section, “Melodrama and Reconciliation,” discusses the role of melodrama in fostering empathy and reconciliation. The second section, “The Honeymoon Period,” examines films from periods of diplomatic thaw, highlighting themes of friendship and cooperation. The third section, “Sino-Japanese Orphans,” looks at films focusing on war orphans, emphasizing their role in promoting cross-cultural empathy. The final section, “Reconciliation after 2000,” analyzes post-2000 films’ impact on Sino-Japanese relations, reflecting ongoing efforts to address historical wounds. The concluding chapter, “Conclusion,” reflects on the emotional power and societal impact of war films. The first section, “‘Tears of Rage,’” discusses how these films evoke strong emotional responses, keeping the memory of war alive. The second section, “‘I Am Me, He Is Him,’” explores the formation of personal and collective identities through film. The final section, “The Future of Remembrance,” speculates on the future of war memory in the digital age, emphasizing the need for continued engagement with war memories.
Weiss’s book offers insights into how war cinema shapes national identity in China and Japan. Her analysis of “prosthetic memory” shows how films help viewers emotionally connect with historical events, shaping collective memory. Her work provides a critical perspective on the construction of masculinity in war films and highlights the transnational dimensions of collective memory through the “memory loop.” Furthermore, Weiss’s methodology is rigorous, combining film analysis with cultural and historical contexts, making her arguments compelling and well supported. Her use of specific examples from films such as The Go Masters and Schindler’s List enriches the narrative, demonstrating the power of cinema in shaping collective memory. One shortcoming is the book’s focus on mainstream war films, potentially overlooking independent films offering alternative perspectives. Additionally, a detailed comparison with war films from other cultures could enhance understanding of common and unique features in memory portrayal. Exploring how audiences in China and Japan react differently to the same film could provide deeper cultural insights. Another area that could be expanded is the examination of the reception of these films in different cultural contexts, which would provide a more nuanced understanding of their impact.
To conclude, Han Heroes and Yamato Warriors: Competing Masculinities in Chinese and Japanese War Cinema is a well-researched work that offers valuable perspectives on the interplay between film, memory, and national identity. Despite some complexity in language and depth of context, Weiss’s book is essential reading for those interested in World War II memory, Chinese and Japanese cinema, and the construction of national identity through film. Her detailed exploration of the cultural and historical contexts that shape war narratives provides a comprehensive understanding of the subject. This book is not only an academic resource but also a thought-provoking read on the power of film in shaping collective memory and national identity.
Edgar Javier Ulloa Luján
The College of Idaho, Caldwell