Manga and anime began depicting the A-bomb in the 1950’s. This trend emerged in such films as Shindo Kaneto’s Children of Hiroshima (1952), Imamura Shohei’s Black Rain (1989), and with the unnatural blooming of flowers in Alan Resnais’ Hiroshima Mon Amour (1959). In the years that followed, the A-bomb came to be depicted in the arts. Two weeks later Japan entered a new era facing the dual challenges of massive destruction and foreign occupation. Fire-bombings had already devastated 64 major Japanese cities in the final months of the Pacific War. In early August, 1945, “Little Boy” and “Fat Man” destroyed Hiroshima and Nagasaki. Keywords : Anime, Manga, Hiroshima, Nagasaki, Nuclear, War, Tezuka, America, Women, Technology, Miyazaki, Apocalypse. The author argues that what is concealed within “unrealistic” animation often reveals more than what is shown about people grappling with an apocalyptic legacy in search of a national identity. Anime provides insight into the social attitudes of each post-war era and, into how collective memory has processed “unimaginable” horror. Abstract: This article examines the often-noted “cuteness” in early post-war Japanese animation, and explains how this style has led in more recent years to grittier works depicting war’s devastation through fantasy and cinematic technology.
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