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Focusing on literary works, films, and manga, Cather examines the jobs of artists, lawyers, and anxious residents in the censorship manner. Her account is a timely and useful gateway into the postwar period of Japan, as well as the contemporary censorship issues in the country. Self-censorship is an more and more common challenge for artists and newshounds in Japan, and it threatens democracy. In Hungary, for example, journalists are afraid to ask arguable questions in regards to the executive as a result of they might lose access to interviews and press meetings. Journalist Janos Karpati, a former EU correspondent, asked a question about the death penalty and was told that his query was not acceptable by Prime Minister Viktor Orban, and he was threatened with the loss of his job. While self-censorship among artists in Japan is not a new issue, recent cases of self-censorship in the arts rekindled the talk. A recent resolution by the Aichi Triennale to cancel an endorsement of a group by South Korean artists depicting Japanese soldiers in Nanjing has reignited the debate. While it's critical to protect the liberty of expression, it can also embolden extremist facets. In Japan, most contemporary art museums are publicly owned, and the MAM has been the discipline of protests. However, regardless of its debatable place in the field, the museum is privately owned and backed by the efficient Mori family, which is a pillar of the Japanese tradition. There are many purposes why artists may self-censor their work.

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