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In Inglorious, Illegal Bastards, Aaron Herald Skabelund examines
how the Self-Defense Force (SDF)-the post-World War II Japanese
military-and specifically the Ground Self-Defense Force (GSDF),
struggled for legitimacy in a society at best indifferent to them
and often hostile to their very existence. From the early
iterations of the GSDF as the Police Reserve Force and the National
Safety Force, through its establishment as the largest and most
visible branch of the armed forces, the GSDF deployed an array of
public outreach and public service initiatives, including off-base
and on-base events, civil engineering projects, and natural
disaster relief operations. Internally, the GSDF focused on
indoctrination of its personnel to fashion a reconfigured
patriotism and esprit de corps. These efforts to gain legitimacy
achieved some success and influenced the public over time, but they
did not just change society. They also transformed the force
itself, as it assumed new priorities and traditions and contributed
to the making of a Cold War defense identity, which came to be
shared by wider society in Japan. As Inglorious, Illegal Bastards
demonstrates, this identity endures today, several decades after
the end of the Cold War.
Dogs have been part of motion pictures since the movies began. They
have been featured onscreen in various capacities, from any number
of "man's best friends" (Rin Tin Tin, Asta, Toto, Lassie, Benji,
Uggie, and many, many more) to the psychotic Cujo. The contributors
to Cinematic Canines take a close look at Hollywood films and
beyond in order to show that the popularity of dogs on the screen
cannot be separated from their increasing presence in our lives
over the past century.
The representation and visualization of dogs in cinema, as of other
animals, has influenced our understanding of what dogs "should" do
and be, for us and with us. Adrienne L. McLean expertly shepherds
these original essays into a coherent look at "real" dogs in
live-action narrative films, from the stars and featured players to
the character and supporting actors to those pooches that assumed
bit parts or performed as extras. Who were those dogs, how were
they trained, what were they made to do, how did they participate
as characters in a fictional universe? These are a just a few of
the many questions that she and the outstanding group of scholars
in this book have addressed.
Often dogs are anthropomorphized in movies in ways that enable them
to reason, sympathize, understand and even talk; and our shaping of
dogs into furry humans has had profound effects on the lives of
dogs off the screen. Certain breeds of dog have risen in popularity
following their appearance in commercial film, often to the
detriment of the dogs themselves, who rarely correspond to their
idealized screen versions. In essence, the contributors in
"Cinematic Canines" help us think about and understand the meanings
of the many canines that appear in the movies and, in turn, we want
to know more about those dogs due in no small part to the power of
the movies themselves.
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