“Because it's there …” A consideration of the decision to commit New Zealand troops to Malaysia beyond 1971

1971 ◽  
Vol 2 (1) ◽  
pp. 22-31
Author(s):  
Keith Jackson

Direct diplomatic relations between New Zealand and Malaya/Singapore are a relatively recent innovation dating back only to 1955, and, significantly, the original decision to station troops in the area in peacetime preceded the establishment of formal diplomatic links. It is true that even before the Second World War there had been a growing consciousness of the strategic significance of the area, but it was seen in terms of Singapore as a link in the chain of Imperial defence, never as a region in its own right. Regions were subsumed in the worldwide defence strategy of the British Empire. Thus New Zealand contributed financially to the construction of the base for the Royal Navy at Singapore, but her military commitments were in helping to guard the Suez ‘lifeline’. New Zealand air-force units were stationed in Singapore in 1940, but despite the national trauma associated with the fall of the base and the apprehended threat to New Zealand’s own security, the ground forces remained in the Middle East. Indeed, New Zealand's formal Commonwealth responsibilities were to remain in the Middle East until 1955 and public interest continued to focus on that area to a surprising degree. The lessons of the Pacific War for New Zealand, therefore, were less concerned with the strategic importance of any particular area than with the indispensability of a United States alliance. As one research group put it, ‘in the immediate post-war years New Zealand showed a greater sense of international awareness, but no sense of particular involvement with the Far East; still less with South-East Asia.

2000 ◽  
Vol 84 (1) ◽  
pp. 206-227
Author(s):  
Paul Bailey ◽  
James Grayson ◽  
Michael Sturma ◽  
Peter Lineham

Author(s):  
Jordan A. Yamaji Smith

Terayama Shūji was an avant-garde Japanese poet, playwright (for stage and radio), filmmaker, and photographer associated with New Wave cinema and underground theatre movements such as post-shingeki. Born in Aomori Prefecture, then raised by relatives after his father died in the Pacific War and his mother moved to distant Kyushu to work, he settled in Tokyo, where he would spend the majority of his adult life. After studying literature at Waseda University, he began writing poetry, making his mark with a major prize for new tanka writers in 1954. In 1967, with his wife Kujo Kyoko, he co-founded the experimental theatre group TenjoSajiki [天井桟敷,] usually called ‘The Gallery’ in English; the title is taken from the Japanese translation of Marcel Carné’s film Les Enfants du Paradis. The same year, he founded ‘Universal Gravitation Drama Laboratory’ [Engeki-jikkenshitsu BanyuInryoku] an experimental gallery, cinema, and theatre space which later spun off the theatre group ‘A Laboratory of Play: Ban’yuInryoku.’ His films investigate the relationship between revolution, eroticism, youth culture, family psychology, and identity. Terayama’s works explore new formal and aesthetic techniques, while simultaneously forwarding and constantly questioning the radical politics of post-Second World War avant-garde arts in Japan.


2001 ◽  
Vol 85 (1) ◽  
pp. 206-230
Author(s):  
Paul Bailey ◽  
James Grayson ◽  
Duncan Waterson ◽  
Peter Lineham

2018 ◽  
Vol 53 (04) ◽  
pp. 1278-1311
Author(s):  
JEREMY A. YELLEN

AbstractOne striking feature of the Pacific War was the extent to which Wilsonian ideals informed the war aims of both sides. By 1943, the Atlantic Charter and Japan's Pacific Charter (Greater East Asia Joint Declaration) outlined remarkably similar visions for the postwar order. This comparative study of the histories surrounding both charters highlights parallels between the foreign policies of Great Britain and Imperial Japan. Both empires engaged with Wilsonianism in similar ways, to similar ends. Driven by geopolitical desperation, both reluctantly enshrined Wilsonian values into their war aims to survive a gruelling war with empire intact. But the endorsement of national self-determination, in particular, gave elites in dependent states a means to protest the realities of both British and Japanese rule and to demand that both empires practise what they preach. This comparative analysis of Britain and Japan thus sheds light on the part Wilsonian ideology played in the global crisis of empire during the Second World War.


2019 ◽  
Vol 31 (2) ◽  
pp. 197-219
Author(s):  
Frances Houghton

Abstract This article explores the 1970 case of Broome v. Cassell & Co. in which an elderly wartime naval officer was awarded unprecedented damages for defamation in David Irving’s account of the sinking of wartime Allied convoy PQ17 in 1942. The article examines the discourses and images deployed in this landmark British libel action, as a means of analysing how cultural memories of convoy PQ17 and the wartime Royal Navy were shaped and transmitted in post-war Britain. It is argued here that the trial offers a prism through which to explore wider anxieties that the generation who fought the Second World War held during the late 1960s. It maps how contemporary generational tensions, fears of national decline, and concerns about distorted cultural representations of war in Britain were embedded into the trial. This libel case thus became invested with considerable cultural significance among an ageing community of wartime survivors who were intent upon safeguarding wider memories of ‘their’ war.


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