2019/05/04 by Rachael Hutchinson · 3 citations
Social Sciences · Economics, Econometrics and Finance · #Digital Games and Media #Cinema and Media Studies #Multimedia Communication and Technology #Movie theater #Narrative #Sociology #Media studies #Politics #Visual arts #Honor #Action (physics) #Studio #Nuclear weapon #Newspaper #Agency (philosophy) #History #Art history #Art #Literature #Law #Computer science #Political science #Social science
paper · doi:10.1080/10371397.2019.1614882
published in Japanese Studies 39(2), 169-189 (Taylor & Francis)
openalex publication_date 2019/05/04 · openalex created_date 2025/10/10 · openalex updated_date 2025/11/06
This essay examines how photography and news footage of the Hiroshima bomb have been used as a backdrop for the action genre in Japanese film and videogames. The case studies are Fukasaku Kinji’s film Battles without Honor or Humanity (1973), and Kojima Hideo’s videogame Metal Gear Solid (1998). Fukasaku’s opening sequence employs photographic stills of the mushroom cloud, burnt-out ruins, and the black market to set the violence of yakuza gangs against the political-military violence of the United States. A generation later, Kojima's game used photographic stills of the atomic bombing in a strikingly similar way, including footage of nuclear waste facilities and weapons manufacturing. Both texts position Japan as a victim, with Hiroshima symbolizing America’s abuse of technology and power. Although both texts belong to the action genre, there is a major difference in the subjectivity of the main characters, stemming from the different narrative trajectories of each text and the media specificity of cinema and games. Agency in Kojima's text allows the player to negotiate and reshape the historical memory of Hiroshima in their own experience, performing the anti-nuclear critique through in-game actions. Combining meaningful play with digital history, videogames are highly effective vehicles for political and social critique.