The waves at Genji's door: Japan through its cinema
Saved in:
| Main Author: | |
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| Format: | Book |
| Language: | English |
| Published: |
New York
Pantheon Books
1976
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| Series: | The Pantheon Asia library
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Physical Description: | 463 S. Ill. |
| ISBN: | 0394497996 0394732782 |
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| 245 | 1 | 0 | |a The waves at Genji's door |b Japan through its cinema |c by Joan Mellen |
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Record in the Search Index
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| adam_text | Contents
Foreword ix
Acknowledgments xi
List of Illustrations xv
Introduction xxv
PART 1. AT GENJI S DOOR 1
1. The Feudal and the Modern 3
2. The Warriors of Meiji 16
3. The Japanese Woman 27
4. Kurosawa s Women 41
PART 2. BEING JAPANESE: THE
QUEST THROUGH HISTORY 57
5. Ryoma 61
6. MereAnarchy: The Nihilist Period Film 78
7. Celluloid Samurai: The Protest Film in Disguise 85
8. The Samurai Film Without Samurai 100
9. From Chambara to Yakuza 113
PART 3. THE SECOND WORLD WAR
AND ITS AFTERMATH 135
10. The Japanese Film During the Second World War 137
11. The Anti-war Film in Japan 167
12. The Devastated Homeland 201
PART 4. WOMAN IN JAPAN 245
13. The Husbandless Patriarchy 247
14. Mizoguchi: Woman as Slave 252
xiv Contents
15. The Two Naruses 270
16. Tadashi Imai: Womrn Under Feudalism 290
17. Hani s Awakened Women 294
18. Shohei Imamura: Woman as Survivor 301
PART 5. THE FAMILY UNDER SIEGE 311
19. Ozu: The Family Upheld 316
20. Ichikawa s Wholesome and Unwholesome Families 331
21. Susumu Hani: The Family as Betrayer 343
22. The Structures of Oshima 353
23. The Family Anatomized: Imamura s The Pornographer 371
PART 6. ALTERNATIVES 377
24. The Civilized and the Primitive 379
25. The Political Cinema in Japan 396
26. Japan s Revolutionary Documentarists 427
Index 451
About the Author 46 5
Illustrations
PART 1
Minamata: The Victims and Their World: The thousands of 4
victims and their families have so far confined their protest to
demanding of Chisso that it assume its proper role of benevolent
protector.
Kuragejima: Tales from a Southern Island: It is our rationality 12
that has prevented us from discovering the freedoms rooted in
the past.
Near the end of Kuragejima a railway locomotive, the symbol 13
of progress, chases the ghost of this girl, once wild and free.
She embodies the spirit of the island, the life of Japan, now
pursued to its very destruction.
At the center of A Story from Chikamatsu is the merchant 18
Ishun, relentless, hypocritical, clearly representing the class that
will dominate the Japan of the future.
Sancho the Bailiff: The son confides that he found it incom- 20
patible to hold an official position in the society and simultane-
ously serve the cause of good.
Wild Geese: Japan sacrifices her identity, seduced by the power 23
of an alien Western science and technology.
Yojimbo: Kurosawa expresses the hopelessness of all the intel- 24
lectuals of Japan who have watched their country pass into its
modern technological stage guided by nothing but the pursuit
of profit.
Chushingura (The Forty-seven Ronin): In anger, Asano draws 32
his sword against Kira in the castle itself, a forbidden place.
Chushingura: The forty-seven march triumphantly through the 33
town, tired, wearing their dirty, bloodstained clothes, but
supremely dignified.
xvj Illustrations
The Loyal Forty-seven Ronin of the Genroku Era: Mizoguchi 35
violates all Japanese expectations of Chushingura. The only
seppuku we are permitted to witness is that of this girl, who kills
herseif to prove her sincerity.
Tokyo Story: Both recognize, each agrees, that it s not like the 38
old days.
No Regrets for Our Youth: Typically for women of her back- 43
ground, Yukie studies the piano and flower-arranging.
No Regrets for Our Youth: Yukie is at once more beautiful and 46
vital as a bedraggled peasant with her hair awry than she was as
a spoiled schoolgirl.
Rashomon: Woman is angel outside and demon within. 48
The Lower Depths: By the end of the film Osugi has beaten 51
up her sister many times.
Seven Samurai: The only important female character is the 52
peasant girl Shino, who seduces the youngest of the samurai.
Dersu Uzala is, like Red Beard, a love story between two men. 55
PART 2
Bakumatsu: Ryoma is shown admiring Western technology, even 64
as radical intellectuals did in Tsarist Russia, viewing it as a
means toward national advance.
Firefly Light: Gosho sees Tose as no less heroic than Ryoma, 67
notwithstanding her middle-class life, beeause her acts and her
free spirit align her with a struggle for change.
Ryoma is made the conscience of Assassination, a sometime o
commentator who sees through the violenee and chaos of the
day, the bloodshed that only replenishes itself in more death,
the loss of the goal in the course of battle.
Assassination: By placing Kiyokawa and Ryoma together in the u
same film, Shinoda cleverly illuminates what for him must be
the irony of commitment.
The Assassination of Ryoma: Ryoma becomes immobilized,
partly beeause, like the present-day cynics and nihilists in Japan
whom Kuroki is satirizing, he feels that life is absurd.
The Assassination of Ryoma: In his despair, Ryoma turns to
sexual indulgence, as of eourse did many contemporary stu-
dents, easily distracted by personal whim and unresolved psy-
chological need.
Assassination: There is also a freeze frame of a rush of birds
streaking skyward as they scatter before Kiyokawa s relentless
path.
lllustrations xvn
Seven Samurai: Each embodies one facet of the nobility of the 94
warrior. Kyuzo, the swordsman, whose moves are so swift that
they are undiscernible to the naked eye, reveals the samurai s
skill and control.
Seven Samurai: Kambei is teaching the peasants to overcome 97
centuries of egotistic individualism as well as defeatism.
Utamaro and His Five Women: Utamaro is shown to be a revo- 101
lutionary who writes inflammatory Statements on the back of his
prints, always a rebellious spirit.
Sancho the Bailiff: Those who try to escape are branded with a 105
red-hot iron, but never in close-up, because the director wishes
to stress the suffering of all rather than the tragedy of one.
Onibaba: Shindo views such driven sexuality as an expression of 109
the human will to live, embodying vitality and an urge for
survival.
Onibaba: The samurai immediately retreats behind the preroga- 110
tives of his class, incapable of viewing her as another human
being, an equal: It s not a face to show peasants.
A Tale of Genji: His character is submerged within a world 114
haunted by fatalism and a Buddhist sense of the transitoriness
of life. He never becomes more than a local aristocrat, never
rises to symbolize an era.
Samurai, Part One: He longs for fame more than anything in 116
the world and has a healthy samurai distaste and disdain for
women.
Pale Flower: Like poker in the American Western, gambling in 122
the yakuza film is ever present and pursued with ritual intensity.
PART 3
Five Scouts: Life in the camp is shown to offer genuine joys, the 141
result of men, like the warriors of old, participating together in
a sanctified pursuit.
The Story of Tank Commander Nishizumi: As Nishizumi, Ken 145
Uehara resembles a Japanese Errol Flynn, sultry-eyed with a
pencil-thin moustache and a suggestive smile.
The War at Sea from Hawaii to Malaya: Despite the heat and 148
his having to carry a heavy suitcase, he doesn t sweat, so under
control is his body.
Twenty-four Eyes: Miss Oishi defies the prevailing attitudes of 170
the Japanese govemment in the thirties by treating each Student
as if he were a uniquely valuable individual.
Coup d Etat: Yoshida is interested in the psychology of the 176
fascist and in how fascist-like values entered the fabric of Japa¬
nese society.
xviii Illustrations
Until the Day We Meet Again: Saburo, expressing the C.I. 180
E. s urging of Japan s directors to exalt individual judgment,
challenges the absolute obedience demanded during Japan s im-
perial period.
The Human Condition, Part One—No Greater Love: Kaji s 181
being a Japanese means that he must become an inevitable par-
ticipant in the brutalization of these Chinese, whatever his per¬
sonal views may be.
The Human Condition, Part Two—A Soldier s Prayer: Kaji and 184
his friend Shinjo are called filthy Reds for their socialist
beliefs and are ostracized by the others.
The Human Condition, Part Three—The Road to Etemity: Kaji 188
is granted a füll understanding of what the Russians actually
represent: naked authoritarian tyranny, hierarchies elevating a
privileged few, hostility toward the individual, qualities exactly
like those of the feudal Japanese leadership.
The Harp of Burma: Mizushima, who will probably never see 193
Japan again, is the truest Japanese of all because he is uniting
himself with all the living and all the dead.
Fires on the Piain: The real horror is not the eating of human 195
flesh—which the camera portrays as an aberration of the desper¬
ate—but the atrocity of war itself.
The Emperor and a General: The seppuku of Anami, like the 197
cult of the sanctity of the Emperor, another feudal vestige, is
fully endorsed by the director as appropriate and redolent of
dignity.
Children of the Atom Bomb: Its sole theme is the horror of the 202
bombing, and it offers no political understanding or exploration
of the motives of the American government in dropping the
bomb.
Record of a Living Being: Through the absurdity of a Single 205
Japanese—and by extension all Japanese—selling his possessions
and leaving his country for good, Kurosawa tries to direct the
audience not to forget what happened at Hiroshima and
Nagasaki.
The Thick-Walled Room: Kobayashi becomes a partisan of 208
neither side, the Japanese nor the American.
Pigs and Battleships: Toward the would-be gangsters with their in
Joint Japan-United States pig farm, Imamura is ironic. No
matter how illegal their actions, they could never equal the
American military for sheer depravity.
Pigs and Battleships: In the rescue Operation some of the
stretchers bear the bodies of men, some those of pigs, making no
distinction between them, as the Japanese have been rendered
pigs by pigs.
Illustrations xix
An Autumn Afternoon: Ryu, at the thought of the blue-eyed 218
ones in New York plunking samisens, remarks that it might not
have been such a bad thing, after all, for Japan to have lost
the war.
A Japanese Tragedy: Throughout the Centimes the love of chil- 221
dren for parents, filial piety, and loyalty symbolized the human-
ity of the Japanese. These have now disappeared.
Floating Clouds: Naruse suggests that having failed the Japa- 226
nese woman in the postwar environment, the Japanese male has
lost his integrity.
Ikiru: The Americanization of Japan is further condemned by 232
Kurosawa in the Nighttown sequence in which a self-styled
Mephistopheles takes the dying Watanabe out for an evening
of enjoyment.
Ikiru: The Subordination of the individual to the group, upon 233
which all Japanese bureaucracies, governmental and private, are
structured, is seen by Kurosawa as preventing humane responses.
The History of Postwar Japan As Told by a Bar Hostess: Ab- 239
surdly, in the midst of these tumultuous events for her country,
inspired by the relationship between Japan and the United
States, Mme. Onboro finds solace in the arms of a series of
American lovers.
The History of Postwar Japan As Told by a Bar Hostess: The 240
presence of the American military has shaped Mme. Onboro s
life, as it did the lives of so many Japanese in her time.
Karayuki-san: The story of Karayuki-san is immensely sad, for 243
she has been exploited as a woman and as a Japanese and as a
burakumin or Eta.
PART 4
The Story of a Beloved Wife: The wife has, in fact, no concep- 251
tion of needs of her own as distinct from those of her husband.
White Threads of the Waterfall: Mizoguchi bitterly satirizes the 253
utter hostility of Meiji society toward women who, day after
day, were sacrificing themselves to its prosperity.
Street of Shame: The heroine is the prosritute, represented by 256
five very different women, all of whom are portrayed as valu-
able human beings.
A Picture of Madame Yuki: To be saved, she must solve the 258
problem for herseif, something a Japanese woman of gentility
who has been conditioned to passivity simply cannot do.
The Temple of the Rakans in Tokyo. 260
xx Illustrations
The Life of Oharu: Oharu next is sold as a courtesan to the 263
Shimabara whorehouse, where her rebelliousness, ever endorsed
by Mizoguchi, expresses itself.
The Life of Oharu: The only kindness shown Oharu in her long 264
travail is by the old prostitutes of the first sequence; as the most
demeaned of women, they have known the same pain.
The Life of Oharu: Women who might be natural allies must 265
destroy each other, while men are aided in the oppression of
women by the competition among women for men, their only
means of survival.
A Story from Chikamatsu: From choosing death by suicide on 268
ironically calm Lake Biwa, Osan moves, for the sake of an
authentic love, to a willingness to defy the society s highest
laws defining a woman s behavior.
Wifel Be Like a Rose! The independent, creative woman is 271
tainted by what for Naruse is a perverse psychology; she likes
her husband only when they are not together.
Repast: Happiness for this woman will be in serving as a support 272
for her struggling husband.
The Flavor of Green Tea over Rice: The pleasure of being with 274
her women friends far exceeds the unendurable tedium of the
moments Taeko must spend with her plodding, tariturn
husband.
The Sound of the Mountain: The Japanese woman educated 279
before the war is destined to suffer because of an upbringing
that has taught her only self-sacrifice.
Untamed; This weak and despicable male, who would seem a 280
caricature were he not manifesting so tiue-to-life an attitude of
the male in the Japanese patriarchy, gets more than he bargains
for.
When a Woman Ascends the Stairs: The spiritual motion of her 284
climb is indeed a descent, in contrast to her having just ascended
the stairs.
A Wandering Life: As with women today, knowing about her 287
weakness for men who treat her badly and the pain it causes her
is not enough to break the emotional pattern governing her life.
A Wandering Life: I will write, she says, as if to convince her- 288
seif; a wandering life is not all of my life.
Night Drum: The attack by this crude, self-serving former suitor 292
exposes the vulnerability to sexual assault of these abandoned
samurai women.
She and He: Naoko would, as a woman and a free human being, 298
define herseif in terms of a much larger group than that of the
nuclear family.
Illustrations xxi
The Insect Woman: Is Tome a rebel? Is she blasphemous? Her 302
actions are determined by the logic of her character radier than
by restraints imposed from without.
The Insect Woman: Imamura Stands further back from his char- 304
acters than any director of his generation. Never would he judge
a Tome; life will provide its own punishments.
lntentions of Murder: The rape has released the impulses of 306
Sadako s deepest nature. It frees her of her servitude.
PART 5
Tokyo Twilight: Through Akiko, Ozu dramatizes the turmoil of 323
the younger generation in contemporary Japan.
The End of Summer: Two peasants in a field observe the flight 328
of crows and conclude that someone must have died. New lives
replace the old, says the man.
The End of Summer: Ozu mourns the loss of all that he has 329
loved. The parade of figures in black in the funeral sequence
crosses a bridge as if into a nevv epoch.
Conflagration: His mother is a coarse woman of loose morals, 332
her vulgarity a further reflection for Mizoguchi of his own lack
of value.
Bonchi: The Institution of the family, whether dominated by 335
men or women, places its own survival before the needs and feel-
ings of individuals.
Younger Brother: Ichikawa demystifies the idea that the patri- 336
archal family accords the individual protection in exchange for
his loyalty and subservience.
Younger Brother: Her helpfulness has become entirely com- 337
pulsive; she is now incapable of being anything but sister to this
brother.
Ten Dark Women: The film asks what would happen if all 339
women exploited by Japanese men were to join together.
Being Two Isn t Easy: Bewildered, knowing nothing of sexual 340
differentiation, Taro silently answers his father, I don t know
whether Fm a boy or not, but I m a human being.
Bad Boys: In the mini-society they construct within the reforma- 345
tory, a feudal power structure reigns which Hani has compared
to that prevailing within the Japanese army.
The Inferno of First Love: Shun develops a semi-perverse, semi- 351
paternal relationship with a little girl of five or six named Momi
whom he meets in the park. Shun both adores and sexually
molests Momi.
xxii Illustrations
Boy: As the film progresses, the boy is actually hit by a few of 354
the cars, and his scrapes and bruises become real.
Boy: Oshima s boy hero experiences each day a total violation of 355
his personal integrity.
The Ceremony is Oshima s great epic of the fall of the Japa- 359
nese family and how deeply this Institution has been intertwined
with Japanese imperialism and militarism.
The Ceremony: The past, engulfing the Japan that should have 366
been theirs to rebuild, has sapped the energy of the young.
The Man Who Left His Will on Film: The boy s death comes 369
to parallel the demise of the Student movement itself, which,
having failed to achieve any of its demands, has turned Japan s
youth once again back upon themselves.
The Pornographer: The hero, Ogata, makes pornographic movies 372
for a living, catering to the voyeuristic urges of men with wan-
ing sexual capacities.
PART 6
The Sound of Waves: A fascist-inspired camera attempts to 382
convince us that those who do not think, who live within nature
and who respond to life in purely physical terms, shine in the
favor of the gods.
Kuragejima: Tales from a Southern Island: They are pursued by 386
vigilante islanders who don the masks traditionally employed in
acts of ritual murder.
507
Journey into Solitude: There is a tendency among some ot
Japan s directors to find a source of escape from the chaos of
modern life in the rural byways where an old Japan still exists.
Tsugaru Folksong: Saito endorses the notion of the noble savage
who would live a free and pure life so long as he is not sub-
verted by corrupt civilizing forces.
Time Within Memory: Having lived so long on the mainland,
Sawa has lost her own closeness with nature.
393
Himiko: By day she functions as a prophetess; by night she is a
woman who must be provided with slave men to gratify her
sexually.
400
Gurten Shindo exhorts the exploiters of people like Tsuru to
appreciate the goodness of Japan s working class.
Crab-Canning Ship: We are confronted primarily with stereo¬
types, the good sailors and the bad foreman, against whom
they will finally mutiny.
Ulustrations xxiii
The Bad Sleep Well: Nishi is dangerous because he will not 406
acquiesce in yielding to the domination of these so-called supe-
riors. But as a Single rebel, he is harmless.
The Bad Sleep Well seems boldly to concern itself with the cor- 408
ruption of Japan s entire ruling class, a corruption in which the
giant corporations, the press, and the police work in tandem.
High and Low: Through the police, with their willingness to use 410
any methods necessary to catch the kidnapper and their prefer-
ence for law and order over justice, Kurosawa begins to teil a
secondary story about Japanese society.
Night and Fog in Japan: Betrayais within the movement are 416
seen by Oshima as more pernicious than anything the police
could do.
Death by Hanging: The sister first seems to be a savior, sym- 422
bolizing the spirit of the Korean people.
Death by Hanging: Because he accepts himself, and the conse- 424
quences of the damage done him as a Korean living in Japan,
R. must also accept his appropriate destiny.
Peasants of the Second Fortress: People who have always lived 430
by traditional norms have now begun to challenge such con-
cepts as nation, law, and police.
The Oppressed Students: Their demonstrations were against the 432
intervention of the government in questions of academic
freedom.
Heta Village: Who could fail to respect and declare deeply 437
feit solidarity with Ogawa s Sanrizuka peasants?
People of the Okinawa Islands: The Okinawans have faith that 448
they will one day reclaim their land and drive out the Ameri-
cans completely: foreigners who have tried, like the Japanese
government at Sanrizuka, to evict them from their own land.
|
| any_adam_object | 1 |
| author | Mellen, Joan |
| author_facet | Mellen, Joan |
| author_role | aut |
| author_sort | Mellen, Joan |
| author_variant | j m jm |
| building | Verbundindex |
| bvnumber | BV012810956 |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1993 |
| callnumber-raw | PN1993.5.J3 |
| callnumber-search | PN1993.5.J3 |
| callnumber-sort | PN 41993.5 J3 |
| callnumber-subject | PN - General Literature |
| classification_rvk | AP 59763 |
| ctrlnum | (OCoLC)2317935 (DE-599)BVBBV012810956 |
| dewey-full | 791.43/0952 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 791 - Public performances |
| dewey-raw | 791.43/0952 |
| dewey-search | 791.43/0952 |
| dewey-sort | 3791.43 3952 |
| dewey-tens | 790 - Recreational and performing arts |
| discipline | Allgemeines |
| format | Book |
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| id | DE-604.BV012810956 |
| illustrated | Illustrated |
| indexdate | 2024-07-09T18:34:05Z |
| institution | BVB |
| isbn | 0394497996 0394732782 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-008713735 |
| oclc_num | 2317935 |
| open_access_boolean | |
| owner | DE-12 DE-M472 DE-188 |
| owner_facet | DE-12 DE-M472 DE-188 |
| physical | 463 S. Ill. |
| publishDate | 1976 |
| publishDateSearch | 1976 |
| publishDateSort | 1976 |
| publisher | Pantheon Books |
| record_format | marc |
| series2 | The Pantheon Asia library |
| spelling | Mellen, Joan Verfasser aut The waves at Genji's door Japan through its cinema by Joan Mellen New York Pantheon Books 1976 463 S. Ill. txt rdacontent n rdamedia nc rdacarrier The Pantheon Asia library Cinéma - Japon Films gtt Film Motion pictures Japan HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008713735&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Mellen, Joan The waves at Genji's door Japan through its cinema Cinéma - Japon Films gtt Film Motion pictures Japan |
| title | The waves at Genji's door Japan through its cinema |
| title_auth | The waves at Genji's door Japan through its cinema |
| title_exact_search | The waves at Genji's door Japan through its cinema |
| title_full | The waves at Genji's door Japan through its cinema by Joan Mellen |
| title_fullStr | The waves at Genji's door Japan through its cinema by Joan Mellen |
| title_full_unstemmed | The waves at Genji's door Japan through its cinema by Joan Mellen |
| title_short | The waves at Genji's door |
| title_sort | the waves at genji s door japan through its cinema |
| title_sub | Japan through its cinema |
| topic | Cinéma - Japon Films gtt Film Motion pictures Japan |
| topic_facet | Cinéma - Japon Films Film Motion pictures Japan |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=008713735&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT mellenjoan thewavesatgenjisdoorjapanthroughitscinema |