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³ That the size of the Japanese economy posed an existential challenge to the Cold War in its US–USSR bipolar form was not lost on Japanese intellectuals either. Three years later, the same premise was advanced in an essay titled “The Japan That Can Say No: Why Japan Will Be First among Equals,” coauthored by the outspoken fiction writer-turned-politician Shintaro Ishihara and Sony chairman Akio Morita.

⁴ Huang, Betsy, “Premodern Orientalist Science Fictions,” MELUS, 33, 4 (Winter 2008), 23–43 CrossRefGoogle Scholar, 23–24.

⁵ Some scholars assert that there is now a greater degree of realization on the part of Americans that their national economy is too heavily integrated into global trading networks for outright demonization to be a worthwhile response to China, an observation advanced in Shinn, Christopher A., “Homicidal Tendencies: Violence and the Global Economy in Asian American Pulp Fiction,” in Nguyen, Mimi Thi and Tu, Thuy Linh Nguyen, eds., Alien Encounters: Popular Culture in Asian America (Durham, NC: Duke University Press, 2007), 111–29Google Scholar, 115.

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⁸ An example of recently recovered source material is a reproduction of a poster from the AutoWorld theme park, photographed by Helen Zia and published in Tchen, John Kuo Wei and Yeats, Dylan, eds., Yellow Peril! An Archive of Anti-Asian Fear (New York: Verso, 2014), 262Google Scholar. The plethora of audiovisual material that survives from the era not only substantiates scholarly studies but also finds its way into retrospective documentaries on Japan and/or the US–Japan trade wars. Informative radio programs that do this include “Misunderstanding Japan,” Archive on 4, dir. Keith Moore, BBC, 8 Aug. 2015; “NUMMI,” This American Life, dir. Ira Glass, PRX The Public Radio Exchange, Chicago, 17 July 2015.

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¹¹ This genre drew upon themes of invasion that had emerged in the “future war” novels of the late nineteenth century and thus possessed a certain lineage or “pedigree” on that basis, though these precursors were never acknowledged by the authors. See Davis, Madison J., “Interpreting the East to the West,” World Literature Today, 80, 6 (Nov.–Dec. 2006), 13–15 CrossRefGoogle Scholar, 14; Tatsumi, Takayuki, Full Metal Apache: Transactions between Cyberpunk Japan and Avant-pop America (Durham, NC: Duke University Press, 2006), 63–70 CrossRefGoogle Scholar; Walker, David, “Godless Heathen: China in the American Bestseller,” in Ferrall, Charles, Millar, Paul, and Smith, Keren, eds., East by South: China in the Australasian Imagination (Wellington: Victoria University Press, 2005), 136–55Google Scholar, passim.

¹² During the 1980s, studies tended to itemize political disputes between Japan and the US with little attention to ideologies. A precursor to Morley and Robins that went somewhat further than these was Robertson, Roland, “Japan and the USA: The Interpenetration of National Identities and the Debate about Orientalism,” in Turner, Brian S., Abercrombie, Nicholas, and Hill, Stephen, eds., Dominant Ideologies (London: Routledge, 1990)Google Scholar, 182?98, passim.

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¹⁴ For a critical reading of Hollywood films of the era see Cornea, Christine, “Techno-orientalism and the Postmodern Subject,” in Furby, Jacqueline and Randell, Karen, eds., Screen Methods: Comparative Readings in Film Studies (London: Wallflower Press, 2005), 72–81 Google Scholar, passim. Non-scholarly discussions of techno-orientalism as it features in mainstream films are also available, such as Umapagan Ampikaipakan and Johanan Sen, “Techno-orientalism,” What The Flick, podcast audio, 18 March 2012, at www.bfm.my/wtf-technoorientalism-1703.html.

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²³ Weber's narrative dwells upon the effect of Japanese tourism upon Pacific islanders, as in the case of a Samoan taxi driver: “The Japs have taken over the real-estate market again, like they did back in the mid-to-late eighties. They come in, buy millions of dollars of property in a few weeks, real estate people jack up the prices, they buy more, and so on. The locals, we ain't got a chance, man.” See Weber, Joe, Honorable Enemies (New York: Putnam's, 1994), 84Google Scholar.

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³⁵ Ibid., 79.

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³⁸ Ibid., 166–67.

³⁹ Ibid., 121.

⁴⁰ Floyd D. Cheung, “Imagining Danger, Imagining Nation: Postcolonial Discourse in Rising Sun and Stargate,” Jouvert: A Journal of Postcolonial Studies, 2, 2 (1998), para. 15, http://english.chass.ncsu.edu/jouvert/v2i2/CHEUNG.HTM.

⁴¹ Robyn Rodriguez and Vernadette Gonzalez observe that the rise of Japan's export industry also enabled young Asian American males to express their masculinity through association, particularly in the subculture of “rice rocket” car imports. See Robyn Magalit Rodriguez and Vernadette Vicuña Gonzalez, “Asian American Auto/Biographies: The Gendered Limits of Consumer Citizenship in Import Subcultures,” in Nguyen and Nguyen Tu, Alien Encounters, 248–66, 255.

⁴² Crichton, 392.

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⁴⁵ This fear recurred in thriller novels of the era. Reviewing Tom Clancy's Debt of Honor (1994), the critic Christopher Buckley summarized it as follows: “It all plays into the crudest of cultural paranoia, namely, that what these beastly yellow inscrutables are really after is – our women.” See Christopher Buckley, “Megabashing Japan: World War II Wasn't Half Enough for Tom Clancy,” New York Times Book Review, 28 Oct. 1994, 28, underlining in original.

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⁷⁹ Crichton, Rising Sun, 142. The sexual undertones associated with samurai references could also be employed in critiques of “Japan-bashing,” as in one review of Crichton's novel which suggested that a suitable cover for the paperback version “might be a caricature of World War II-era Prime Minister Tojo skulking off into Rockefeller Center with Doris Day over one shoulder and an eighteen-inch dildo sheathed where his samurai sword would have been.” See Karl Taro Greenfeld, “Return of the Yellow Peril,” Nation, 11 May 1992, 636.

⁸⁰ Ozeki, My Year of Meats, 139.

⁸¹ Ibid., 34, 190.

⁸² Ibid., 265.

⁸³ Ibid., 267.

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