The film Kiku and Isamu (1959) was one of the first cinematic depictions of mixed-race children in postwar Japan, telling the story of two protagonists facing abandonment by two different Black GI fathers and ostracism from Japanese society. Bringing together studies of the representations of the Hapa Japanese experience in culture, Hapa Japan: Identities & Representations (Volume 2) tackles everything from Japanese and American films like Kiku and Isamu to hybrid graphic novels featuring mixed-race characters. From Muslim Japanese-Pakistani children in a Tokyo public school to “Blasian” youth at the AmerAsian School close to a US military base in Okinawa, the Hapa experience is multiple, and its cultural representations accordingly are equally diverse. This anthology is the first publication to attempt to map this wide range of Hapa representations in film, art and society.
A somber portrait of Mini and her mother, in 'Come See the Paradise,' from 'Hapa Japan: Identities & Representations.'
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A comprehensive and outstanding contribution to Japan studies and ethnic studies.
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FORMAT: Pbk, 6 x 9 in. / 400 pgs / 5 color / 9 b&w. LIST PRICE: U.S. $22.95 LIST PRICE: CANADA $32 GBP £20.99 ISBN: 9781885030542 PUBLISHER: Kaya Press/Ito Center Editions AVAILABLE: 4/25/2017 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Published by Kaya Press/Ito Center Editions. Edited by Duncan Ryuken Williams.
The film Kiku and Isamu (1959) was one of the first cinematic depictions of mixed-race children in postwar Japan, telling the story of two protagonists facing abandonment by two different Black GI fathers and ostracism from Japanese society. Bringing together studies of the representations of the Hapa Japanese experience in culture, Hapa Japan: Identities & Representations (Volume 2) tackles everything from Japanese and American films like Kiku and Isamu to hybrid graphic novels featuring mixed-race characters. From Muslim Japanese-Pakistani children in a Tokyo public school to “Blasian” youth at the AmerAsian School close to a US military base in Okinawa, the Hapa experience is multiple, and its cultural representations accordingly are equally diverse. This anthology is the first publication to attempt to map this wide range of Hapa representations in film, art and society.
