Oshima Nagisa’s 1999 film Gohatto offers a glimpse of relationship dynamics within shūdō (male-male relationships) framed in the context of a bakumatsu era jidaigeki. However, it is a jidaigeki without the formal elements and historical accuracy of a jidaigeki. While homoerotic and militarily patriarchal in its themes the film comments little on homophobia and misogyny in Japan. Instead it comments on desire and the suppression of individual desire for the greater good, suggesting an individual vs. the collective dilemma. The film examines the destructive nature of desire within the Shinsengumi and presents it as a criticism of modern Japan forcing individuals to suppress their desires for the sake of the collective.
Historical inaccuracy abounds in this film to draw attention to the main theme of shūdō as a form of desire. Though the environment and official attitudes of Tokugawa leaders towards shūdō is accurately portrayed, the characters view the subject with a more modern attitude. Historically, relationships between wakashū (young boys) and nenja (older males) were accepted as a way for younger recruits to learn how to be a man through discipline and respect. Though romantic entanglements were also common, shūdō was still conceived of as a path to adulthood, not a sexual preference. Within Gohatto the characters refer to shūdō as “being that way” or “leaning that way,” in modern negative colloquialisms referring to homosexual sexual identity. The characters often deny that they are ‘that way’ or spend a lot of time trying to figure out if someone “leans that way.” In this light, the love-triangle between Kano Sozaburo, Tashiro Hyozo, and Yuzawa Tojiro is seen as a negative effect of their desire to be “that way.”
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...ersive desires that may threaten the harmony of the group. Oshima’s willingness to alter the historical record is evidence that the film is largely preoccupied with modern society and not overly concerned with accurately presenting history. For example, redesigning the Shinsengumi uniforms from the iconic teal and white uniform to black and gold uniforms emphasize the eroticism associated with close-knit military environments. While Gohatto is accurate in representing certain aspects of life in Japan during the mid-19th century, its characters and its meaning are ultimately modern and it contains a message not about the past but about the present. Perhaps it is impossible to separate our view of the past from our modern preoccupations, but as a film Gohatto has more to say about modern society and modern interpretations of sexuality than those of Tokugawa samurai.
Much of what is considered modern Japan has been fundamentally shaped by its involvement in various wars throughout history. In particular, the events of World War II led to radical changes in Japanese society, both politically and socially. While much focus has been placed on the broad, overarching impacts of war on Japan, it is through careful inspection of literature and art that we can understand war’s impact on the lives of everyday people. The Go Masters, the first collaborative film between China and Japan post-WWII, and “Turtleback Tombs,” a short story by Okinawan author Oshiro Tatsuhiro, both give insight to how war can fundamentally change how a place is perceived, on both an abstract and concrete level.
But, somewhere in popular culture, the essence of the film was lost and Gojira was used as a caricature. As Gojira entered the mainstream and morphed into Godzilla, perceptions of Japanese culture followed suit. In class, we had discussed how outrageous and over-zealous Japan culture was perceived by western cultures; Gojira, the monster itself, is a perfect example. With evidence like subtle references to Lucky Dragon No. 5, Japan gave us a film to be dissected but our thoughts on Japan trivialized it. For example, in the American adaptation, the beginning of the film does not show the first attack made by Gojira under the water and the wreckage it had caused. Instead, Terry Morse, the American director compelled images of white, American men laying in rubble. When Gojira entered mainstream attention, we felt the need to make changes and ingrain our own beliefs. What does this say about our mindsets and how we approach discussions about cultures other than our
Musui’s Story is the exciting tale of a low class samurai’s life towards the end of the Tokugawa era. Although one would normally imagine a samurai to be a noble illustrious figure, Musui’s Story portrays the rather ignominious life of an unemployed samurai. Nonetheless, this primary account demonstrates the tenacity of samurai values and privileges present at the end of the Tokugawa shogunate. The social status of samurai had been elevated to such a state that even someone like Musui was easily able to gain influence in everyday affairs with his privileges. Not only that, but he had retained his values as a warrior and still kept great pride for his arts in weaponry.
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
Shinto: The Way Home written by Thomas Kasulis is a book designed to inform the reader of Shinto traditions and history, but how does his work stand on its own as a scholarly source. Kasulis uses simple organization strategies to control the flow of the work the simplest method is the separation of the book into six chapters as well as a two prefaces one from the editor and one from the author. The first chapter discusses Shintoism in the terms of a western audience while the second chapter confers the connection with normal Japanese culture with Shinto traditions. The third, fourth, and the fifth chapter canvases the history of Shinto traditions in chronological order from prehistory to 2002. Chapter 6 explains Issues with Shinto in a modern
Known for her work as a historian and rather outspoken political activist, Yamakawa Kikue was also the author of her book titled Women of the Mito Domain (p. xix). At the time she was writing this work, Yamakawa was under the surveillance of the Japanese government as the result of her and her husband’s work for the socialist and feminist movements in Japan (p. xx-xxi). But despite the restrictions she was undoubtedly required to abide by in order to produce this book, her work contains an air of commentary on the past and present political, social, and economic issues that had been plaguing the nation (p. xxi). This work is a piece that comments on the significance of women’s roles in history through the example of Yamakawa’s own family and
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Ukiyo is a culture that strives to live a strictly pleasure-seeking routine. The largest flaw in this way of life, as Saikaku points out, is that its superficial nature forces people to live lives as meaningless and fluffy as its name, the “Floating World,” suggests. It is shallow in the physical sense, in that it focuses primarily on “beautiful” external appearances, and in the metaphorical sense, whereby individuals never really make deep-seated connections to anyone because of their addiction to finding these so-called pleasures. One particular character that Saikaku satirizes to embody this superficial nature of Ukiyo is the old, rotting woman found on the verandah in the episode of “A Monk’s Wife in a Worldly Temple.” He cleverly employs situational irony with this character to prove his point, as it is expected for the archetypal old woman to pass moral lessons to the younger generation. By the character’s own, sorrowful admission she claims that she “can’t forget about sex” and is going to “bite right into” (Saikaku 614) the protagonist; completely the opposite of what the audience expects her to say. This satire highlights the extent to which the Ukiyo lifestyle socially conditions individuals; the old woman is so far gone down that path that she no l...
The literary masterpiece The Tale of Genji by Murasaki Shikibu is a fictional tale that provides clear insight into the sociopolitical court life of the Heian period in Japan. In the tale we are able to see the standards of life that were expected of the aristocrats during the Heian period. The social nature of Heian court life is depicted in the many relationships of the characters through the various stories presented in The Tale of Genji. The relationships in the tale are mainly romantic relationships that surround the Shining Prince Genji, along with other relationships such as parent and child, master and servant, and relationships between social contemporaries. The romantic relationships in the tale indirectly provide the reader with an understanding of the ideal man or woman in the Heian court. We can derive from various parts of the tale what social standards were like during the Heian period, and what constituted the ideal court lady or man.
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Yukio Mishima’s Temple of the Golden Pavilion, set in postwar Japan, gives way to a reflection of the postwar experience both the representation of military aggression and in use of symbolism of beauty, loss, and destruction. A story about Mizoguchi, a young, stuttering acolyte’s obsession with beauty lends itself to the conflagration of the Temple of the Golden Pavilion, based loosely on a true story about the Kinkaku-ji.
The Secret Life of Geisha is a documentary film about the hidden life of geisha women in Japan. Geisha are Japanese women who entertain man through dance and singing, the term geisha as defined by the film means, “artist”. The film discusses the history of geisha, from their first appearance in the 1600s and through the major historical year of Japan from Meiji Restoration to World War II. In the 1800s, the West were confused between the image of geisha and prostitutes. The image of geisha throughout history have been clouded by prostitutes. As stated in the film, “Geisha wears her OB as the sash tied in the back”, and “Prostitutes wears their OB in the front”, beyond this distinction the geisha are the presence of a select elite, unlike prostitutes geisha livelihood isn’t exactly sex. The major period of change in terms of the roles and status of geisha was when the group of Samurai warriors began a rebellion against the Shogun's government, they used the tea house as a meeting space and with the support of geisha, the disaffected Samurai defeated the ruling of Shogun. It was 1868 when the geisha were allied to the most powerful group of people of that time, the Samurai. Another transition was the most important historical transition of
The small island country of Japan is rich in a culture that has developed over thousands of years. It is very difficult to analyze another culture without some knowledge of that culture first. During my two year residency in Japan, my eyes were opened to the culture of Japan and its people and I grew to love it as much as my own. (The ideas expressed in this essay mainly consist of my own knowledge and observations of Japan). The Japanese are a very traditional people. But this should not be confused with a primitive people, because the Japanese are not primitive by most dictionaries' definitions of the word. Japan has been changing in recent years in its view of its own economy, in its social interactions, in its thoughts about religion, and in its overall view of its place in the world and among other nations.