From the traditions of J-horror to the representation of kakusa shakai in Kurosawa's film Tokyo Sonata
Identifieur interne : 000730 ( Istex/Corpus ); précédent : 000729; suivant : 000731From the traditions of J-horror to the representation of kakusa shakai in Kurosawa's film Tokyo Sonata
Auteurs : Roman RosenbaumSource :
- Contemporary Japan [ 1869-2729 ] ; 2010-09.
English descriptors
- Teeft :
- Allegorical representation, Aratana kaiso shudan, Chikuma shobo, Cinema, Class stratum, Consumer society, Contemporary japan, Contemporary japanese society, Devastating consequences, Different value system, Dinner table, Dramatic change, Expectation gaps, Family drama, Family member, Family members, February, Film tokyo sonata, Filmmaker, Final scene, Financial crisis, Freeter, Genre, Good wife, Horror films, Horror genre, Horror movies, Imamura shohei, Innermost fears, Japanese cinema, Japanese film, Japanese identity, Japanese literature, Japanese society, Japanese youth, Kakusa, Kakusa shakai, Kakusa shakai phenomenon, Kenji, Kibo kakusa shakai, Kiyoshi, Kiyoshi kurosawa, Kurosawa, Kurosawa kiyoshi, Kurosawa tokyo sonata, Latest film, Lifelong employment, Lifetime employment, Loan shark, Lower class, Masahiro, Mcdonald, Middle class, Next generation, Nigamushi onna, Nigamushi woman, Nuclear family, Older generations, Parasite singles, Piano lessons, Popular culture, Postwar period, Rapid transformation, Realist films, Roman rosenbaum, Rosenbaum, Ryosai kenbo, Ryuhei, Salaried employees, Security treaty, Shakai, Shutsugen society, Social circumstances, Social consciousness, Social disparities, Social engagement, Social landscape, Social malaise, Social mobility, Social status, Social stratification, Sociological terms, Sonata, Stratification, Takashi, Tokyo sonata, Traditional breadwinner, Urban japan, Value system, Wall street journal, Wave cinema, Wave filmmakers, Whole world, Wise mother, Yamada, Yamada masahiro, Young people, Younger generation.
Abstract
This article investigates the popular cultural implications of the “gap-widening society” (kakusa shakai) as identified by Yamada Masahiro. A recent revival of sociological terms like freeter and NEET in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga. This article also examines how Japan's growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan's older working-class generations who are profoundly affected by the accelerating kakusa shakai trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki's Hyakuman-en to nigamushi onna [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. The aim of this investigation is to gauge how the current discourse on Japan's “gap-widening society” is encoded in recent literature and films.
Url:
DOI: 10.1515/cj.2010.008
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ISTEX:4CF3EB3662AE5A091A4A7A8A37340A5427528A61Le document en format XML
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In comparison, Tanada Yuki's Hyakuman-en to nigamushi onna [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. 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A recent revival of sociological terms like freeter and NEET in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga. This article also examines how Japan's growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan's older working-class generations who are profoundly affected by the accelerating kakusa shakai trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki's Hyakuman-en to nigamushi onna [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. 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KG</publisher><date type="published" when="2010-09"></date><biblScope unit="volume">22</biblScope><biblScope unit="issue">1-2</biblScope><biblScope unit="page" from="115">115</biblScope><biblScope unit="page" to="136">136</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>2010-09-07</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en"><p>This article investigates the popular cultural implications of the “gap-widening society” (kakusa shakai) as identified by Yamada Masahiro. A recent revival of sociological terms like freeter and NEET in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga. This article also examines how Japan's growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan's older working-class generations who are profoundly affected by the accelerating kakusa shakai trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki's Hyakuman-en to nigamushi onna [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. The aim of this investigation is to gauge how the current discourse on Japan's “gap-widening society” is encoded in recent literature and films.</p></abstract><textClass><keywords scheme="keyword"><list><head>Keywords</head><item><term>shomin-geki</term></item><item><term>realist film</term></item><item><term>working class</term></item><item><term>kakusa shakai</term></item><item><term>social disparity</term></item><item><term>Japanese film</term></item><item><term>Kurosawa Kiyoshi</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2010-09-07">Created</change><change when="2010-09">Published</change><change xml:id="refBibs-istex" who="#ISTEX-API" when="2017-10-5">References added</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/4CF3EB3662AE5A091A4A7A8A37340A5427528A61/fulltext/txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus degruyter-journals" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//Atypon//DTD Atypon Systems Archival NLM DTD Suite v2.2.0 20090301//EN" URI="nlm-dtd/archivearticle.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">cj</journal-id><abbrev-journal-title abbrev-type="full">Contemporary Japan</abbrev-journal-title><issn pub-type="ppub">1869-2729</issn><issn pub-type="epub">1869-2737</issn><publisher><publisher-name>Walter de Gruyter GmbH & Co. KG</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="publisher-id">cj.22.1-2.115</article-id><article-id pub-id-type="doi">10.1515/cj.2010.008</article-id><article-categories><subj-group subj-group-type="heading"><subject><italic>Issue 1</italic></subject></subj-group></article-categories><title-group><article-title>From the traditions of J-horror to the representation of <italic>kakusa shakai</italic> in Kurosawa's film <italic>Tokyo Sonata</italic></article-title></title-group><contrib-group><contrib contrib-type="author"><name name-style="western"><given-names>Roman</given-names><x> </x><surname>Rosenbaum</surname></name><xref ref-type="aff" rid="aff1"><sup>1</sup></xref></contrib><aff id="aff1"><sup>1</sup><email xlink:href="mailto:roman.rosenbaum@sydney.edu.au">roman.rosenbaum@sydney.edu.au</email></aff></contrib-group><pub-date pub-type="ppub"><month>September</month><year>2010</year></pub-date><pub-date pub-type="epub"><day>07</day><month>09</month><year>2010</year></pub-date><volume>22</volume><issue>1-2</issue><fpage>115</fpage><lpage>136</lpage><copyright-statement>© 2010 Walter de Gruyter GmbH & Co. KG, Berlin/New York</copyright-statement><copyright-year>2010</copyright-year><related-article related-article-type="pdf" xlink:href="cj.2010.008.pdf"></related-article><abstract><title>Abstract</title><p>This article investigates the popular cultural implications of the “gap-widening society” (<italic>kakusa shakai</italic>) as identified by Yamada Masahiro. A recent revival of sociological terms like <italic>freeter</italic> and <italic>NEET</italic> in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga.</p><p>This article also examines how Japan's growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan's older working-class generations who are profoundly affected by the accelerating <italic>kakusa shakai</italic> trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki's <italic>Hyakuman-en to nigamushi onna</italic> [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. The aim of this investigation is to gauge how the current discourse on Japan's “gap-widening society” is encoded in recent literature and films.</p></abstract><kwd-group><title>Keywords:</title><kwd>shomin-geki</kwd><x>; </x><kwd><italic>realist film</italic></kwd><x>; </x><kwd><italic>working class</italic></kwd><x>; </x><kwd>kakusa shakai</kwd><x>; </x><kwd><italic>social disparity</italic></kwd><x>; </x><kwd><italic>Japanese film</italic></kwd><x>; </x><kwd><italic>Kurosawa Kiyoshi</italic></kwd><x>.</x></kwd-group></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>From the traditions of J-horror to the representation of kakusa shakai in Kurosawa's film Tokyo Sonata</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>From the traditions of J-horror to the representation of kakusa shakai in Kurosawa's film Tokyo Sonata</title></titleInfo><name type="personal"><namePart type="given">Roman</namePart><namePart type="family">Rosenbaum</namePart><affiliation>roman.rosenbaum@sydney.edu.au</affiliation><affiliation>E-mail: roman.rosenbaum@sydney.edu.au</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Walter de Gruyter GmbH & Co. KG</publisher><dateIssued encoding="w3cdtf">2010-09</dateIssued><dateCreated encoding="w3cdtf">2010-09-07</dateCreated><copyrightDate encoding="w3cdtf">2010</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">This article investigates the popular cultural implications of the “gap-widening society” (kakusa shakai) as identified by Yamada Masahiro. A recent revival of sociological terms like freeter and NEET in popular cultural media reflects an increasing concern with the rapidly changing social landscape in contemporary Japanese society. Starting with the phenomenon of postwar economic growth, each subsequent generation of Japanese has allegorically and symbolically represented the dramatic social changes they experienced through popular cultural media like film and manga. This article also examines how Japan's growing stratification is situated within the popular cultural media of recent films. Special consideration is given to the plight of Japan's older working-class generations who are profoundly affected by the accelerating kakusa shakai trend of recent years. This concern is especially evident in the film Tokyo Sonata directed by Kurosawa Kiyoshi in 2008, which depicts a family in crisis because of the traditional breadwinner losing his job. In comparison, Tanada Yuki's Hyakuman-en to nigamushi onna [One million yen and the nigamushi woman], which was also published in 2008, depicts the contemporary social challenges of the much younger freeter generation upon graduating from university. The aim of this investigation is to gauge how the current discourse on Japan's “gap-widening society” is encoded in recent literature and films.</abstract><subject><genre>Keywords</genre><topic>shomin-geki</topic><topic>realist film</topic><topic>working class</topic><topic>kakusa shakai</topic><topic>social disparity</topic><topic>Japanese film</topic><topic>Kurosawa Kiyoshi</topic></subject><relatedItem type="host"><titleInfo><title>Contemporary Japan</title></titleInfo><titleInfo type="abbreviated"><title>Contemporary Japan</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><originInfo></originInfo><identifier type="ISSN">1869-2729</identifier><identifier type="eISSN">1869-2737</identifier><identifier type="PublisherID">cj</identifier><part><date>2010</date><detail type="volume"><caption>vol.</caption><number>22</number></detail><detail type="issue"><caption>no.</caption><number>1-2</number></detail><extent unit="pages"><start>115</start><end>136</end></extent></part></relatedItem><identifier type="istex">4CF3EB3662AE5A091A4A7A8A37340A5427528A61</identifier><identifier type="ark">ark:/67375/QT4-VRSTLNHF-V</identifier><identifier type="DOI">10.1515/cj.2010.008</identifier><identifier type="ArticleID">cj.22.1-2.115</identifier><identifier type="pdf">cj.2010.008.pdf</identifier><accessCondition type="use and reproduction" contentType="copyright">© 2010 Walter de Gruyter GmbH & Co. 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