View the Table of Contents.
Read the Introduction.

""Imaging Japanese America" examines myriad genres of visual and linguistic representation in order to understand the historical and contemporary 'imaging' of Japanese Americans. It is both an artful writing project and an exemplary scholarly work within the field of visual culture studies. Readers will appreciate the interdisciplinary methodology, the rich detailed analysis, and Creef's powerful voice. A joy to read--one learns something new at every turn."
--Kent A. Ono, University of Illinois at Urbana-Champaign

"An astute and lucid study of visual representations of Japanese Americans and an important original work for understanding American history in the second half of the twentieth century. Creef elegantly reads the myriad interdisciplinary contexts in which dynamics of race, gender, class, and nation frame Japanese Americans as foreign or the same, alien or national, while revealing the hidden costs such representations extract from individuals and communities."
--Shirley Geok-lin Lim, University of California, Santa Barbara

As we have been reminded by the renewed acceptance of racial profiling, and the detention and deportation of hundreds of immigrants of Arab and Muslim descent on unknown charges following September 11, in times of national crisis we take refuge in the visual construction of citizenship in order to imagine ourselves as part of a larger, cohesive national American community.

Beginning with another moment of national historical trauma--December 7, 1941 and the subsequent internment of 120,000 Japanese Americans--Imaging Japanese America unearths stunning and seldom seen photographs ofJapanese Americans by the likes of Dorothea Lange, Ansel Adams, and Toyo Mitatake. In turn, Elena Tajima Creef examines the perspective from inside, as visualized by Mine Okubo's Maus-like dramatic cartoon and by films made by Asian Americans about the internment experience. She then traces the ways in which contemporary representations of Japanese Americans in popular culture are inflected by the politics of historical memory from World War II. Creef closes with a look at the representation of the multiracial Japanese American body at the turn of the millennium.

Seeking an escape from life in her small village in Japan, Hana Omiya arrives in California in 1917, one of thousands of Japanese "picture brides" whose arranged marriages brought them to the United States. When she finally sets foot on a pier in San Francisco, she is disappointed to meet her soon-to-be husband, the stoic Taro Takeda, who looks much older than in the photo his family had shared. Far from the fantasy life she dreamed up back home, Hana confronts emotional distance from her husband and hostility from white neighbors, eventually focusing her energy to support others in her tight-knit community. Showing the complexity of Issei life, Hana's story is intertwined with the stories of others: her best friend Kiku and Kiku's husband Henry, who reject demeaning city work to become farmers; Reverend Okada, a community leader who eventually decides to return to Japan; and Hana's daughter, Mary, who rejects her family and runs away with her boyfriend. Ultimately, as Japanese Americans are evacuated from their homes and imprisoned in concentration camps, we see how Hana and others cope with the heartache of losing everything they worked hard to build. Revealing the human impact of migration, evacuation, and incarceration, Picture Bride is a wide-ranging portrait of Japanese American life in the early twentieth century.

View the Table of Contents.
Read the Introduction.

""Imaging Japanese America" examines myriad genres of visual and linguistic representation in order to understand the historical and contemporary 'imaging' of Japanese Americans. It is both an artful writing project and an exemplary scholarly work within the field of visual culture studies. Readers will appreciate the interdisciplinary methodology, the rich detailed analysis, and Creef's powerful voice. A joy to read--one learns something new at every turn."
--Kent A. Ono, University of Illinois at Urbana-Champaign

"An astute and lucid study of visual representations of Japanese Americans and an important original work for understanding American history in the second half of the twentieth century. Creef elegantly reads the myriad interdisciplinary contexts in which dynamics of race, gender, class, and nation frame Japanese Americans as foreign or the same, alien or national, while revealing the hidden costs such representations extract from individuals and communities."
--Shirley Geok-lin Lim, University of California, Santa Barbara

As we have been reminded by the renewed acceptance of racial profiling, and the detention and deportation of hundreds of immigrants of Arab and Muslim descent on unknown charges following September 11, in times of national crisis we take refuge in the visual construction of citizenship in order to imagine ourselves as part of a larger, cohesive national American community.

Beginning with another moment of national historical trauma--December 7, 1941 and the subsequent internment of 120,000 Japanese Americans--Imaging Japanese America unearths stunning and seldom seen photographs ofJapanese Americans by the likes of Dorothea Lange, Ansel Adams, and Toyo Mitatake. In turn, Elena Tajima Creef examines the perspective from inside, as visualized by Mine Okubo's Maus-like dramatic cartoon and by films made by Asian Americans about the internment experience. She then traces the ways in which contemporary representations of Japanese Americans in popular culture are inflected by the politics of historical memory from World War II. Creef closes with a look at the representation of the multiracial Japanese American body at the turn of the millennium.

Images of Japanese and Japanese American women can teach us what it meant to be visible at specific moments in history. Elena Tajima Creef employs an Asian American feminist vantage point to examine ways of looking at indigenous Japanese Ainu women taking part in the 1904 Louisiana Purchase Exposition; Japanese immigrant picture brides of the early twentieth century; interned Nisei women in World War II camps; and Japanese war brides who immigrated to the United States in the 1950s. Creef illustrates how an against-the-grain viewing of these images and other archival materials offers textual traces that invite us to reconsider the visual history of these women and other distinct historical groups. As she shows, using an archival collection's range as a lens and frame helps us discover new intersections between race, class, gender, history, and photography. Innovative and engaging, Shadow Traces illuminates how photographs shape the history of marginalized people and outlines a method for using such materials in interdisciplinary research.

Images of Japanese and Japanese American women can teach us what it meant to be visible at specific moments in history. Elena Tajima Creef employs an Asian American feminist vantage point to examine ways of looking at indigenous Japanese Ainu women taking part in the 1904 Louisiana Purchase Exposition; Japanese immigrant picture brides of the early twentieth century; interned Nisei women in World War II camps; and Japanese war brides who immigrated to the United States in the 1950s. Creef illustrates how an against-the-grain viewing of these images and other archival materials offers textual traces that invite us to reconsider the visual history of these women and other distinct historical groups. As she shows, using an archival collection's range as a lens and frame helps us discover new intersections between race, class, gender, history, and photography. Innovative and engaging, Shadow Traces illuminates how photographs shape the history of marginalized people and outlines a method for using such materials in interdisciplinary research.