The Lost: A Military Disaster

The Hawks win out that Yamamoto's terminology were prescient. On the American side, bureaucratic ineptitude and a cavalier attitude about Japanese determination to labialise the U.S. argon app bent. When a radar op timetor tells his superior he jack off winds "a large formation of planes coming in from the north," surrogate Tyler tells him, "Yeah? Well?Don't worry about it" (Fleischer and Fukasaku 1970).

We see that nationhood and citizenship ar concepts expressed in the film for both cultures. Because the film does not make the Japanese into a nameless or faceless enemy, we get to see some of the ethos of the warrior nation that guides its war philosophical system and its leaders. Though he is against attacking America because of concerns it will earn a fierce opponent, Yamamoto carries out the attack. We see in his words the Japanese ethos of nationhood with respect to military enterprises when Yamamoto maintains, "If all men are brothers, why are the winds and the waves so restless?" (Fleischer and Fukasaku 1970). This shows the sentiment of nationalism was strong during this sequence, one that did not view peaceful coexistence among nations as a sustainable concept. We also learn that Japanese citizens insure the tradition of striking against the enemy first, in a affect attack. It is natural to the Japanese for man to attack his fellow man.

rican perspective, we see that feelings of nationalism were strong during this era but so was the belief by American citizens that be an American provided them with a certain immunity to foreign attack. saved by oceans and powerful, many Americans held the belief that foreign attack in the form of events like Pearl Harbor was not possible. This "it can't break here" attitude is witnessed in the various reactions of bureaucrats and officials to information that magnate mystify minimized the impact of the attack. When Frank Knox reads a write up of the attack, he maintains "Oh, no, no, this can't be right' they must mean the Philippines!" (Fleischer and Fukasaku 1970). We also see nationalism in the way that Americans refer to Japanese in the film.

As one air traffic controller radios to a pilot, "Tower to B-17, there's a Jap on your tail. Juice yer engines and get out of there" (Fleischer and Fukasaku 1970). Unlike contemporary society, nations in this era still maintained rigid notions of nationalism and citizenship, often masking those from other nations and their peoples as a form of "other" that was someway inferior.

Iriye, Akira. "Tora! Tora! Tora!" In Mark Carnes, Ed. Past Imperfect: History agree to the Movies. Henry Holt, 228-231.

Scott's film also paints a negative photographic film of those involved in the violent Civil War. As Abdullah Hassan says to Durant, "You have the power to kill, but not negotiate. In Somalia, killing is dialogue" (Scott 2001). Hassan also maintains that if General Aidid is captured democracy will not allot because "There will always be killing, see? This is how things are in our world" (Scott 2001). This amiable of zeal shows the same kind of zeal of terrorists who threaten American security. This portrayal heightens patriotism and promotes nationalism, tour providing civilian citizens with the horrors of combat for those who protect their freedom. As one charge Eversmann says of all the pointless bloodshed, "
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