TAILIEUCHUNG - FAMILIES, FATHERS, FILM: CHANGING IMAGES FROM JAPANESE CINEMA

This document provides system requirements developed and adopted by the National Association of Theatre Owners. This document may be revised by NATO. It is intended solely as information for system providers, product developers, and standards committees and other organizations in standardization and certification efforts. NATO shall not be liable for any exemplary, incidental, proximate or consequential damages or expenses arising from the use of this document. This document is an authorized and approved publication of NATO. Only NATO has the right and authority to revise or change the material contained in this document, and any. | Families Fathers Film Changing Images from Japanese Cinema Timothy Iles Abstract Two films from roughly 20 years apart Kazoku gemu The Family Game Morita Yoshimitsu 1983 and Bijitâ Q Visitor Q Miike Takashi 2001 present images of the Japanese family and father that work together to create a portrait of the family in crisis. These films coming at opposite ends of the so-called Bubble Economy suggest that at root of this crisis is the abdication by the Japanese father of his responsibilities both within the home and within the wider social arena. In short these films condemn the contemporary salaryman as an ineffectual uncommunicative and weak force within the home incapable of providing a coherent inspirational model for his family. This paper will first provide a context in which to read these two films by analysing the presentation of the family and father in classic post-war films by Ozu Kurosawa and Mizoguchi. Against these classic works this paper will then explore the ways in which the two more recent films cooperate with each other using satire to criticise the contemporary Japanese family and the apparent crisis which faces it and to show how the perception of this crisis is intensifying. Introduction In many respects since its inception in the late 1800s Japanese cinema has been and remains critically concerned with the family seeing it as continuously on the verge of collapse. The popularly assigned assumed or ostensible cause of this collapse however has undergone considerable change. pre-war films often attribute blame for the tensions in the family to external forces of urbanisation or changing economic foundations Standish 2005 48 . Post-war films often criticise the figure of the child for being disrespectful of the parents while presenting the parents as paragons or at least devoted protectors of their offspring. In contemporary cinema however extending the opinions of the popular news media Arai 2000 841 White 2002 5 many works critical of the .

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