Sometime the Hating Has to Stop’
Liberation and Reconciliation in The Railway Man (Teplitzky, 2013)
Datos Bibliográficos
| ID | 12914964 |
|---|---|
| Autores | Matthew Ryan Robinson (0000-0003-3544-4149, University of Derby, autor de correspondencia) |
| Año | 2019 |
| Volumen | 13 |
| Número | 3 |
| Páginas | 298-317 |
| Fecha de publicación | 2019-08-08 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Journal of War and Culture Studies (JOURNAL) |
| Identificadores de la revista | ISSN: 1752-6272 • E-ISSN: 1752-6280 |
| Editorial | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/17526272.2019.1650221 |
| OpenAlex | W2968816459 |
| Idioma | EN |
| Referencias citadas | 24 |
The Railway Man (Teplitzky, 2013) recreates the experience of Eric Lomax, a Far East Prisoner of War (FEPOW) who was brutally interrogated by the Japanese but later reconciled with his captor, the interpreter Nagase Takashi. Adapted from Lomax’ autobiography, the film was produced in the context of on-going debates regarding Anglo-Japanese reconciliation and the absence of a formal Japanese apology for their treatment of FEPOWs. The adaptation departs from Lomax’ autobiography, and omits the support groups and initiatives to commemorate the FEPOW experience, to present the FEPOWs as a ‘forgotten army’. In addition, the adaptation includes a fictional collective of marginalized FEPOWs in England and a memorial museum in Kanchanaburi at the site where Lomax was tortured and where Nagase works following the war. While framing the FEPOWs as ‘forgotten’, the adaptation simultaneously suggests they are ‘remembered’ in Kanchanaburi and privileges the museum as a space of remembrance in which reconciliation between the pair can be achieved. However, this space also evokes the controversies surrounding actual memorial sites which have been criticized for marginalizing issues of Japanese culpability. These contradictions and resonances illustrate that The Railway Man adaptation is indicative of the very complexities regarding reconciliation it seeks to manage
Archaeology · Art history · Biography · Context (archaeology · Culpability · Framing (construction · Interpreter · Political science · Sociology · Computer Science · German History and Society · History · Intelligence, Security, War Strategy · Law · Memory, Trauma, and Commemoration
Trauma
Exhibiting Atrocity
Mediating Memory in the Museum
Japan and Britain at War and Peace
History on Film/Film on History
Before the Colditz Myth
Incarcerated Masculinities
The “sacred” standing for the “fallen” spirits
For ‘ALL Who were Captured’? The Evolution of National Ex-prisoner of War Associations in Britain after the Second World War
What the Torture Memos Tell Us
Prisoners of the Japanese and the Politics of Apology
Refocusing ‘The People's War’
Voices and Silences of Memory
Addressing the Allied POW Issue in Japan
War memories and Japan’s ‘normalization’ as an international actor
Antiquity at the National Memorial Arboretum
Visions of the Past. The Challenge of Film to Our Idea of History
Grave Matters
| Velocidad de citación | historical |
|---|---|
| Altamente citado | No |