Postwar Immigrants and Their New Japanese Identity

2017 ◽  
Author(s):  
Mieko Nishida
Keyword(s):  
Middle Class ◽  
Japanese Women ◽  
Immigrant Parents ◽  
Main Role ◽  
Industrial Workers ◽  
Japanese Immigrants ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Immigrant Men

The new values and ideas that post-war Japanese immigrants brought with them to Brazil not only created conflicts with prewar immigrants but also challenged and/or confirmed patriarchy in the Japanese diaspora. Many postwar immigrant men arrived as single agricultural and industrial workers in the 1950s and 1960s. Some married Nisei and white Brazilian women but others preferred to look for women to marry back in Japan. Thus in the 1960s and 1970s adult Japanese women arrived in Brazil as “bride immigrants,” whose main role was to support their husbands in Brazil. In the 1980s, unemployed postwar immigrant men became the first to choose dekassegui work in Japan in order to support their families in Brazil. Like their prewar counterparts had done, postwar immigrant parents devoted themselves to the higher Brazilian education of both daughters and sons and expected them to succeed as urban upper-middle-class Brazilians.

Conclusion

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
International Monetary System ◽  
The State ◽  
Real Economy ◽  
Social Democratic ◽  
Monetary System ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
City Of London ◽  
The City

The aim of this book has been to evaluate the relationship between Britain’s financial sector, based in the City of London, and the social democratic economic strategy of post-war Britain. The central argument presented in the book was that changes to the City during the 1960s and 1970s undermined a number of the key post-war social democratic techniques designed to sustain and develop a modern industrial economy. Financial institutionalization weakened the state’s ability to influence investment, and the labour movement was unable successfully to integrate the institutionalized funds within a renewed social democratic economic agenda. The post-war settlement in banking came under strain in the 1960s as new banking and credit institutions developed that the state struggled to manage. This was exacerbated by the decision to introduce competition among the clearing banks in 1971, which further weakened the state’s capacity to control the provision and allocation of credit to the real economy. The resurrection of an unregulated global capital market, centred on London, overwhelmed the capacity of the state to pursue domestic-focused macroeconomic policies—a problem worsened by the concurrent collapse of the Bretton Woods international monetary system. Against this background, the fundamental social democratic assumption that national prosperity could be achieved only through industry-led growth and modernization was undermined by an effective campaign to reconceptualize Britain as a fundamentally financial and commercial nation with the City of London at its heart....

The Politics of Banking and Social Democracy

2017 ◽  
Author(s):  
Aled Davies
Keyword(s):  
Banking System ◽  
Social Democracy ◽  
The Political ◽  
Social Democratic ◽  
Industrial Economy ◽  
The Social ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Political Demand

This chapter concerns the politics of managing the domestic banking system in post-war Britain. It examines the pressures brought to bear on the post-war settlement in banking during the 1960s and 1970s—in particular, the growth of new credit creating institutions and the political demand for more competition between banks. This undermined the social democratic model for managing credit established since the war. The chapter focuses in particular on how the Labour Party attempted in the 1970s to produce a banking system that was competitive, efficient, and able to channel credit to the struggling industrial economy.

“This Room is Yours, Personal!”: The Rise and Fall of Middle-Class Decoration Expertise in the Bedrooms of America’s Teens, 1900–1985

2011 ◽  
Vol 21 (1) ◽  
pp. 109-129
Author(s):  
Jason Reid
Keyword(s):  
Twentieth Century ◽  
Cold War ◽  
Middle Class ◽  
Working Class ◽  
Top Down ◽  
Room Design ◽  
Do It Yourself ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Cold War

This article also examines how the decline of teen-oriented room décor expertise reflected significant changes in the way gender and class influenced teen room culture during the tail end of the Cold War. Earlier teen décor strategies were often aimed towards affluent women; by contrast, the child-centric, do-it-yourself approach, as an informal, inexpensive alternative, was better suited to grant boys and working class teens from both sexes a greater role in the room design discourse. This article evaluates how middle-class home décor experts during the early decades of the twentieth century re-envisioned the teen bedroom as a space that was to be designed and maintained almost exclusively by teens rather than parents. However, many of the experts who formulated this advice would eventually become victims of their own success. By the 1960s and 1970s, teens were expected to have near total control over their bedrooms, which, in turn, challenged the validity of top-down forms of expertise.

Coming Home: Portraying Japanese Baseball on the Silver Screen

2018 ◽  
Author(s):  
Christopher T. Keaveney
Keyword(s):  
Middle Class ◽  
Early History ◽  
Japanese Cinema ◽  
Avant Garde ◽  
Hollywood Films ◽  
History Of ◽  
Baseball Films ◽  
1960S And 1970S ◽  
The 1960S ◽  
Important Marker

Chapter 3 examines the long history of baseball films in Japan, a tradition nearly as old as the history of Japanese cinema itself. After a brief survey of the early history of cinema in Japan, a tradition whose history parallels that of the game of baseball chronologically, the study focuses on early shomingeki films and explores how baseball became an important marker of domesticity and middle class respectability in this genre of film in the 1930s. The chapter then examines several pivotal films in the postwar era, examining how baseball was used alternately to perpetuate a national hero in Suzuki Hideo’s Immortal Pitcher (1955) or to chart the corruption and greed surrounding professional baseball as in Kobayashi Masaki’s I Will Buy You (1956). In the 1960s and 1970s, as young filmmakers arose to challenge the dominance of the great postwar filmmakers and to produce often avant-garde and politically charged films that reflected an international challenge to the hegemony of Hollywood films, the baseball film was again adopted as a means to offer that challenge. Ōshima Nagisa’s Ceremonies, in a film that contests the very concept of the baseball film, uses baseball as a metaphor for the Japan’s abandonment of its citizens during the war. The recent splatter comedy baseball films of Yamaguchi Yūdai likewise play with the familiar tropes of Japanese baseball and of the baseball hero as antihero in problematizing the very concept of the baseball film.

Stuart Hall's Discursive Turn

2019 ◽  
Vol 53 (2) ◽  
pp. 556-563
Author(s):  
JAY GARCIA
Keyword(s):  
Cultural Studies ◽  
Social History ◽  
Mass Culture ◽  
The United States ◽  
Intellectual Life ◽  
Consumer Capitalism ◽  
Stuart Hall ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

Recalling his work as cofounder and contributor toUniversities and Left Review, or the ULR group, in the lead-up to the founding of cultural studies during the 1950s, Stuart Hall noted that much of that work had to do with the United States. “In geopolitical terms we were of course neutralists, hostile to the politics emanating from the State Department in Washington,” Hall wrote, “but culturally we were nonetheless attracted by the vitality of American popular life, indeed to the domain of mass culture itself.” If the ULR group and similar collectives shared an “anxiety about the stupendous power of the booming consumer capitalism of post-war America,” they were also united by an appreciation for the ways the “vitality and raucousness of American culture certainly loosened England's tight-lipped, hierarchical class cultures and carried inside it possibilities – or the collective dream? – for a better future, which we felt was a serious political loss to deny.” Not unrelatedly, by the 1960s and 1970s, cultural studies and certain quarters of American intellectual life were proceeding along comparable tracks. Many American scholars and at least some working in cultural studies moved toward social history that emphasized the “hidden experiences of subordinated groups and classes.” Undertaken in concert with the new social movements of the 1960s and 1970s, this version of social history would ramify widely, furnishing the very questions and analytic habits of many fields, not least American studies.

5. Absurdism, protest, and commitment

2016 ◽  
Author(s):  
Kirsten E. Shepherd-Barr
Keyword(s):  
Civil Rights ◽  
Vietnam War ◽  
Civil Rights Movement ◽  
Gay Rights ◽  
Modern Drama ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
Many Sources ◽  
The Cold War

The decades 1960–80 witnessed a seismic shift in modern drama. The rage that came to define, and fuel, much of the drama in the 1960s and 1970s is directed at the audience. ‘Absurdism, protest, and commitment’ shows it is a post-war rage stemming from many sources: the Vietnam War, the Cold War, a feeling of betrayal by government and politicians, the Civil Rights Movement, Black Power, gay rights, feminism, the growing gap between rich and poor, and ethnic oppression. It is all about denying the audience what it expects of a play, provoking it out of real or perceived complacency, startling, and offending it. The plays of Pinter, Shepard, Beckett, Stoppard, Friel, and Fugard are discussed.

scholarly journals ‘Heading up a blind alley’? Scottish psychiatric hospitals in the era of deinstitutionalization

2016 ◽  
Vol 28 (1) ◽  
pp. 115-128 ◽  
Author(s):  
Vicky Long
Keyword(s):  
Institutional Care ◽  
Psychiatric Hospitals ◽  
Blind Alley ◽  
Department Of Health ◽  
Institutional Services ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S ◽  
The Uk ◽  
The City

This article examines Scottish provision of psychiatric care in the 1960s and 1970s. It demonstrates that institutional services did not rapidly disappear across the UK following the Ministry of Health’s decision to shut down psychiatric hospitals in 1961, and highlights Scotland’s distinctive trajectory. Furthermore, it contends that psychiatric hospitals developed new approaches to assist patients in this era, thereby contributing towards the transformation of post-war psychiatric practice. Connecting a discussion of policy with an analysis of provision, it examines the Department of Health for Scotland’s cautious response to the Ministry’s embrace of deinstitutionalization, before analysing Glasgow’s psychiatric provision in the 1970s. At this point the city boasted virtually no community-based services, and relied heavily on its under-resourced and overburdened hospitals. Closer analysis dispels any impression of stagnation, revealing how ideologies of deinstitutionalization transformed institutional care.

scholarly journals A Road Less Travelled: The American Biker Film of the 1960s and 1970s

2021 ◽  
Author(s):  
◽  
William Liell Carter
Keyword(s):  
Media Coverage ◽  
The United States ◽  
Ongoing Research ◽  
Hollywood Cinema ◽  
The Road ◽  
New Hollywood ◽  
The Media ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>

scholarly journals Dissenting Voices: Challenging the Colonial System

2019 ◽  
Vol 2 (1) ◽  
pp. 0
Author(s):  
Maartje Janse ◽  
Anne-Lot Hoek
Keyword(s):  
Academic Writing ◽  
Pressure Groups ◽  
East Indies ◽  
Colonial Experience ◽  
Long Time ◽  
History Of ◽  
Dutch East Indies ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

This publication emerges from a process of co-creation in which historian Maartje Janse and research journalist Anne-Lot Hoek challenge the dominant national narrative about the colonial experience in the Dutch East Indies (present-day Indonesia). In combining journalistic and academic writing with musical performance by musician Ernst Jansz they amplify the critical voices that have spoken out against colonial injustice and that have long been ignored in public and academic debate. Even though it is often suggested that the mindset of people in the past prevented them from seeing what was wrong with things we now find highly problematic, they argue that there was indeed a tradition of colonial criticism in the Netherlands, one that included the voices of many ‘forgotten critics’ whose lives and criticism are the subject of this publication. The voices however were for a long time overlooked by Dutch historians. The publication is organized around the biographies of several critics (whose lives Janse and Hoek have published on before), the historical debate afterwards and includes reflective videos and texts on the process of co-creation.Maartje Janse started the process by tracing the life history of an outspoken nineteenth-century critic of the colonial system in the Dutch East Indies, Willem Bosch. The authors argue that it was not self-evident how criticism of colonial injustices should be voiced and that Bosch experimented with different methods, including organizing one of the first Dutch pressure groups.The story of Willem Bosch inspired Ernst Jansz, a Dutch musician with Indo roots, to compose a song (‘De ballade van Sarina en Kromo’). It is an interpretation of an old Malaysian ‘krontjong’ song, that Jansz transformed into a protest song that reminds its listeners of protest songs of the 1960s and 1970s. Jansz, in his lyrics, adds an indigenous perspective to this project. He performed the song during the Voice4Thought festival in 2016, a gathering that aimed to reflect upon migration and mobility in current times. Filmmaker Sjoerd Sijsma made a video ‘pamplet’ in which the performance of Ernst Jansz, an interview with Maartje Janse, and historical images from the colonial period have been combined.Anne-Lot Hoek connected Willem Bosch to a series of twentieth-century anti-colonial critics such as Dutch Indies civil servant Siebe Lijftogt, Indonesian nationalists Sutan Sjahrir, Rachmad Koesoemobroto, Dutch writer Rudy Kousbroek and Indonesian activist Jeffry Pondaag. She argues that dissenting voices have been underrepresented in the post-war debates on colonialism and its legacy for decades, and that one of the main reasons is that the notion of the objective historian was not effectively problematized for a long time.http://dissentingvoices.bridginghumanities.com/

scholarly journals East Asian Regionalism

1969 ◽  
Vol 16 ◽  
pp. 34-49
Author(s):  
J. Ryan Davis
Keyword(s):  
Dynamic Process ◽  
East Asian ◽  
Asian Financial Crisis ◽  
The Political ◽  
Concerted Effort ◽  
The World ◽  
Asian Regionalism ◽  
1960S And 1970S ◽  
Post War ◽  
The 1960S

East Asian regionalism is a dynamic process changing the political and economic environment of an increasingly important area of the world. The region has experienced a variety of cooperation mechanisms, including post-war American-led regionalism, the closed regionalism of the 1960s and 1970s, and the new regionalism of the 1980s and 1990s. Yet it was the 1997-98 Asian financial crisis that forced East Asia to embark on a deliberate and concerted effort to construct a regional architecture. Recent successes demonstrate the determination with which this task has been undertaken. The process has also attracted a considerable amount of attention. Despite some overly critical opinions, East Asian regionalism today should be recognized as a decidedly unique process with great deal of promise for the future.

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