Abstract
In 1939, the Building Great East Asia Exposition opened in Nishinomiya City, Japan, in support of the ongoing China-Japan War (1937–45). At the heart of the exposition was the monumental Great “Capture of Wuhan” Panorama. Built in an open-air baseball stadium, this massive panorama referenced the long and bloody Battle of Wuhan waged the previous year. Comparing the panorama with other multimedia representations of the battle and connecting this site to other military spectacles reveal how this panorama operated as both somber, realistic edification and tantalizing entertainment as it mobilized exposition visitors for Total War.
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