The story being told by the images themselves. Mother sees him off at the station.” By keeping this sequence wordless, Kinoshita managed to evade censorship, which at the time was focused much more on words than on The entire sequence, in which Tanaka Kinuyo, first in shocked stillness and then in frenzied motion, brilliantly depicts theĪgony of being parted from her son as he marches off to war and is encapsulated by a single line in the script: “his Japanese Army–sponsored film Army ( Rikugun). Keisuke famously snuck the scene that is undoubtedly his wartime pièce de résistance into the 1944 Imperial Resistance to state hegemony by the filmmakers themselves, similar to the way Kinoshita This analytical approach also has the advantage of uncovering evidence of a subtle Left few concrete traces of their oppositional “readings” of 2 the films behind)Ĭould have used certain aspects of each film to construct their own interpretations-which at times differed dramaticallyįrom the interpretation the state desired. I analyze one or more examples of each category of films identified above, suggesting ways that audiences (who unfortunately The 1940s, wartime films seemingly intended to arouse hatred for the Anglo-American enemy, and finally historical romances. I do this in five chapters, dedicated to revisionist historyįilms of the 1920s, parodies of history in the late 1920s and into the 1930s, a series of superhero films from the 1920s through Of Bakumatsu history by film audiences in prewar and wartime Japan. Throughout this book, I seek to recover traces of this sort of proactive reinterpretation State-endorsed interpretation of Japanese history. To audiences in 1945, this trite love story, ostensibly meant to heal the lingering wounds of civil war during the Bakumatsu period, became instead a way to question-or even deride-the In futility, however, because the choice of how to interpret a film is up to viewers, not producers (and certainly not censorious That audiences view it in the “correct” manner and come to the right political conclusions. So when he reviewed the film, the reviewer insisted Rejecting the film’s interpretation of Japanese history itself. ![]() In mocking laughter! To the reviewer, the viewers weren’t simply rejecting the unconvincing love affair-they were What horrified the reviewer was how the audience responded to the declarations of love by the protagonists: they burst out In love despite ideological and status differences, a comforting message of national reconciliation given the wartime climate. Of the Bakumatsu era (1853–1867), was meant to tell a serious story and concluded with the two main characters falling Kenji history film about a famous sword but emerged shocked and perhaps a little frightened. One day in February 1945, a film reviewer for the quasi-governmental Analyze popular history films from Japan?
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