What’s shocking is how Japanese disaster film originated from its lean history and evokes people’s reflection on the embellishment of this topic (e.g., atomic bomb as a mushroom or other genres). On one hand, it draws the Japanese public to reflect on the destructions they have made and received during WW2 and serve as a complex psychological healing method that allays the horror in their mind. On the other hand, although in the 1960s the grandiose postwar reconstruction had once again put Japan on top of the world, some argue that it still nevertheless endures as an invisible scar in Japanese history and people shouldn’t be discussed or showcase it in a lighthearted manner.
Another point to make is that outsiders like me conceive Tokyo as a place with a phoenix power. But in reality, the tension has never faded and is still storming in Japanese society. Thus, the housing architectural aesthetic still conveys a strong sense of historical fragmentation and disbelief in the land in each of the reconstructions it had. I guess that standing on that “vigorous” land it’s inevitable that filmmakers would have their way to deduce Tokyo because who knows when the next uncontrollable disaster will happen again. And undergoing all these unfortunate incidents I am sure they can rebuild the entire Japan before tomorrow, right?
Tin Yiu, Wong 3035840239
Nice summary and reflection. Yet I would like to remind you to check your spelling and grammar before submission next time, as sometimes they obstruct your reader from understanding your ideas.
Thank you and sorry for the terrible grammar I have. I will be working on my grammar problem and will pay closer attention to it.