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Tora!Tora!Tora! & Black Hawk Down

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Two military disasters in U.S. history are chronicled in Richard Fleischer and Kinji FukasakuÆs ôTora! Tora! Tora!ö and Ridley ScottÆs ôBlack Hawk Down.ö Both war genre films, the former details the Japanese attack on Pearl Harbor in December 1941, and the latter describes the failed ôhumanitarianö mission by U.S. troops to end civil war in Somalia in October 1993. A combination of both an American and Japanese version of the events culminating on December 7, 1941, ôTora! Tora! Tora!ö provides a fairly balanced blending of the perspective of both nations. ôBlack Hawk Downö provides a largely American perspective of the events that occurred in Mogadishu. This analysis will discuss concepts of nation and citizenship as illustrated in these films, including the impact on patriotism and nationalism of films in this genre.

ôTora! Tora! Tora!ö is the synthesized product of an American and Japanese directed version of the events leading up to the attack on Pearl Harbor by the Japanese. Because of this, the film does an accurate job of providing the perspective of both the Americans and Japanese. Hawks of war in Japan urged the attack on Pearl Harbor, while American bureaucratic ineptitude and an ôit canÆt happen hereö attitude failed to minimize the impact of the attack. The filmmakers step back from judging the event and provide a documentary-like account of events that enables viewers render their own conclusions. Vice-Admiral Isoroku Yamamoto tells

. . .
ne air traffic controller radios to a pilot, ôTower to B-17, thereÆs a Jap on your tail. Juice yer engines and get out of thereö (Fleischer and Fukasaku 1970). Unlike contemporary society, nations in this era still maintained rigid notions of nationalism and citizenship, often viewing those from other nations and their peoples as a form of ôotherö that was somehow inferior. We see that both the Japanese and American perspectives attempt to provide justification for their actions leading up to the attack on Pearl Harbor. For the Japanese, it was a matter of expanding access to valuable resources required for development. For the Americans, combating Japanese movement in the Pacific was part of an effort to resist further invasion of China. In this manner, Akira Iriye (228-229) maintains the film provides a false picture of the causes for war in the Pacific, ôYamamoto keeps saying, æIf Japan is forced to enter into war against the United StatesàÆ but the passive voice is misleading; it was the United States, not Japan, that was forced to go to war in the Pacific.ö Iriye (229) also maintains the film fails to show that the real cause of war in the Pacific was ôAmerican outrageö over Japanese aggression in China. There is no
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Some common words found in the essay are:
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Approximate Word count = 1507
Approximate Pages = 6 (250 words per page)

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