Popular Film and Peace Studies

GCRF Cluster Performing Violence, Engendering Change Blog, 2020

sep , 2021

In modern societies, films play a profound role in the formation of peace, justice, beliefs, attitudes, and behaviors. The focal point of this research paper is how to maintain peace and justice in the world through films. It is also an admitted fact that film is a genre that definitely has the power to establish ultimate peace and justice in human society. In the post 9/11 scenario, the world has viewed a consistent and concurrent wave of severe terrorism in the form of suicide bombing or attacks which has become an issue of gigantic magnitude. It is no doubt, a heinous and obnoxious crime that still needs to be grappled with (Dingjun & Hingsheng, 2007). Film, in this situation is the most suitable genre that can help in maintaining peace and justice around the globe. It is a powerful as well as popular medium which is a source of recreation, fun entertainment and also educating the masses. There are several feature films not only act as valuable catalysts for provoking questions about peacemaking, but also depict and even model actions intended to bring peace and justice in a violent world. This research will throw light on significance and impact of films as a powerful medium of communication.in promoting global peace and justice.

On the fifth of december, 2015, acclaimed Studio Ghibli’s animation director Takahata Isao visited Okinawa University for a conference about the controversial issue of American bases’ relocation from Futenma to Henoko, the first being considered as the most dangerous military base for population in the world by its location in the middle of the city of Ginowan, the second being more remote but on an extremely precious and fragile natural site. And on July 13, 2015, Miyazaki Hayao attended a press conference in Tokyo, in which he urged the Abe’s government to follow the 70 years of Pacifist Constitution. This events are not only an epiphenomenon among the waves of protestation and reflexion against the relocation, but the continuation of a coherent serie of act on behalf of the Studio Ghibli. Indeed, the commitment of the studio regarding militarism, environmentalism and other has not to be proven, but still, the Okinawan issue brought it to act in various way that are not to be seen only as intervention from popular personalities on political topics. Based on the idea that education is crucial and decisive in the crafting process of positive peace, we might need to understand, first, that traditional school systems in liberal democracies, although supposed to be universal and emancipating, are not systematically teaching about peace and how to act and live accordingly (at the opposite of militarization as an unconscious process among daily life), but nevertheless, peace education is not something that must be achieved only by formal education, and other socialization forces tend to educate people in informal, and somehow less elitist ways. Studio Ghibli shown commitment to allude to and stand for pacifism, nature protection, but as well feminism or drifts of over consumption. And this, not by making pieces of works accordingly in the idea of educating people to those certain ideas, but by making pieces of culture that happened to be loved and educative at the the same time. It is an example of how important culture is to a peaceful and pacifist society, as a force of balance, equilibrium with various education waves; such as journalists or researchers, artists take part in the work toward balanced society and weight of power. And this idea can be even more relevant since those artists are part of popular culture and thus, escape the issues of art and culture as being too hard to understand. In a country like Japan where the “modern” society is characterized by an abundance and overload of popular culture all around, in a society of entertainment such as it is in the so called “developed” countries, the importance of popular culture pieces is not anodyne. Public opinion, and thus, civil society (or the sometimes the lack of civil society) is shaped by media and therefore, it is a tool and a mean from the government and this is why the opposite, free culture and art process, is so important to maintain peace and allow people to think by themselves and stand up for what is fair. First, we are going to see how Studio ghibli took part in Okinawa issues, carrying on their past commitments concerning militarism and nationalism in Japan in more global ways. Then, we will try to understand why popular and visual culture in Japan is not insignificant in political issues, but on the contrary extremely significant as an idea shaping force. And finally, following these thoughts, we will tend to see how popular culture can educate and bloom pacifist behavior, through the works of Studio Ghibli not only by its public interventions but by its creative work.

First International Conference on Critical Peace Studies, 2023

We invite contemplation on the following problem: Contemporary education is making headway in technological advancement with rapid growth of Artificial Intelligence, but it is not contributing enough to foster intellectual growth that can prevent war, violence and extremism in the world. Consequently, we are moving towards a future with immense technological power but little thinking power (intellectual, historical, emotional, spiritual and moral intelligence). This conference invites all to rethink our current education priorities and future visions of the world with an open dialogue. As we point out the need to expand thinking spaces to construct better futures, we show case research that prioritizes critical and reflexive thinking as well as local needs and perspectives.

The Palgrave Handbook on Critical Theories of Education., 2022

Most theorists and practitioners share the conviction that peace education, rooted in traditions of critical theory, should support learners in developing a critical consciousness of the world as it is, and should be. Furthermore, peace education is overtly and intentionally political, seeking to foster the human agency necessary for social and political transformation. Fostering human agency requires a holistic, comprehensive pedagogical approach. Having cognition of a social problem, even when accompanied by a vision of a preferred social alternative, is generally insufficient if the internal conviction to take external action is not also generated. Given this challenge, this chapter explores the possibilities for developing a critical, comprehensive pedagogical approach to peace education that exists at the nexus of personal, structural, and cultural change.

Teaching in Higher Education, 2011

In Turkey, one of the major challenges that university education faces is the indifference of young people towards social issues. The aim of this article is to contribute to the practice of critical pedagogy by proposing that showing movies is an important critical teaching method with the power both to give pleasure to the students and to develop their interest in crucial social issues. To support our argument, we showed three movies to students taking Sociology and Social Psychology courses in three successive academic terms on the topics 'the death penalty', 'gender equality' and 'prejudice'. Analysing the essays which the students were asked to write on these movies, we observed growing interest and an increase in critical thinking on the issues in question. We then conducted a survey to test this change quantitatively. The results indicate that showing movies is very influential in helping students to develop an interest and critical perspective.

Journal of Peace Education, 2011

Objective of the special issue Several scholars of peace education have explored the links between critical research in education in exam- ining educational endeavors worldwide. This special issue seeks to illuminate the interstices of peace education and critical pedagogy, anti-oppression and postcolonial pedagogy, and/or critical multiculturalism in global contexts. In their scholarship, Brantmeier (2008) called for a ‘critical peace education approach that includes consciousness-raising, vision, and transformative action,’ and Bajaj (2008) similarly argued for ‘a reclaimed “critical peace education” in which attention is paid to issues of structural inequality and empirical study aimed towards local understandings of how participants can cultivate a sense of transformative agency.’ http://www.tandfonline.com/doi/full/10.1080/17400201.2010.514707#.UfEqB-D5HZU

Teaching the Sociology Of Peace, War And Social …

This research project examines how the process of Artistic Activation (conscientization through Art), can help expose invisible systems of oppression and empower us to take action for Peace. It begins by articulating the problem of an invisible culture of violence. Then, it details visible evidence and provides historical evidence to support that the problem exists. Next, it emphasizes that systems such as mass media and mass schooling have conditioned us into thinking that the problem doesn't exist. It continues by offering solutions: transforming the problem by approaching media and education as art. It provides evidence. It doubts itself and implies that others should prove or disprove it. It studies how people's relationships with art have influenced their process of conscientization. It finds that art has helped inspire people to perceive the problem and enact solutions. It argues that art has helped people practice happiness, peacefulness, and empathy. It suggests that happy people do not commit genocide (and other atrocities), because when we use empathy, we learn to value life and actively work to counteract violence. It invites others to prove or disprove this. It leaves you with a gift so you can try it for yourself.