How Japan’s wartime history haunts its popular culture
In two new blockbusters – Godzilla Minus One and The Boy and the Heron – Japanese filmmakers grapple with atomic bomb censorship and pacifism.
ByYo Zushi is a contributing writer for the New Statesman.
In two new blockbusters – Godzilla Minus One and The Boy and the Heron – Japanese filmmakers grapple with atomic bomb censorship and pacifism.
By Yo ZushiNuclear weapons are treated, like pandemics, as an abstract political debate until they become a very different reality.
By Yo ZushiSome great lost pop albums are great because they’re lost. But once they’re found, can they retain their power?
By Yo ZushiThe ideal man is an archetype that changes with the times. A new Barbican exhibition asks – what does…
By Yo ZushiThe pop icon’s unfinished autobiography offers glimpses of his childlike imagination.
By Yo ZushiThe artist, who has died at the age of 58, created music in-spite of his mental health issues, not…
By Yo ZushiIn the late 1980s, a couple of years before the end of the Showa imperial era, a group of…
By Yo ZushiJapan’s graphic artform is a vibrant pan-cultural medium. So why does the British Museum’s new exhibition fail to capture…
By Yo ZushiIn the decade since his death, the singer’s afterlife has been contested territory. But the revelations of a new film may…
By Yo Zushi