By Yoshiharu Tezuka
Japan's movie has passed through dramatic alterations in contemporary many years, as foreign buyer forces and transnational expertise have introduced unheard of engagement with international traits. With cautious learn and in addition special first-person observations drawn from years of operating in the overseas of jap movie, the writer goals to envision how varied generations of jap filmmakers engaged and interacted with the structural possibilities and boundaries posed through exterior forces, and the way their subjectivity has been formed through their transnational reviews and has replaced as a result.
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Extra info for Japanese Cinema Goes Global: Filmworkers' Journeys
In my reading, Castells’ Project Identity is closely akin to Giddens’ theorization of “the self as a reflexive project” (1991). Here, being a “subject” means being capable of constructing one’s own narrative and identity, being capable of building a new and different life. According to Castells, Project Identity can be developed out of either Legitimizing or Resistance Identity, but at the present conjuncture it is more likely to develop out of Resistance Identity. For instance, new Project Identity can be formed “when feminism moves out of the trenches of resistance of women’s identity and women’s rights, to challenge patriarchalism, thus the patriarchal family, and thus the entire structure of production, reproduction, sexuality, and personality on which societies have been historically based” (2004: 8).
Therefore, I thought we needed to re-learn and to re-start, in earnest, in order to be worthy of these ideals … Traditionally, we Japanese were taught to be selfless; being selfless was a virtue and to think about the self was vice. We were accustomed to this traditional thinking 34 Japanese Cinema Goes Global and never had any doubt about it. However, without establishing the self, there is no democracy or freedom. (1990: 268–9) Kurosawa worked on propagandistic scripts and directed films on Japanese spiritualist themes during the war.
High 2003: xiii–iv; Sato 1995b: 45–107). As a result, self-control had already been institutionalized and deeply internalized by Japanese filmmakers well before the Occupation army arrived. Therefore, for this generation of Japanese filmmakers, there was nothing really new about the strict supervision and control that was imposed by the GHQ. Nevertheless, what was radically different about the American regime was that now the same Japanese filmmakers were pressed to make films about democracy and individual freedom, instead of about Japanese spirituality and patriotism.
Japanese Cinema Goes Global: Filmworkers' Journeys by Yoshiharu Tezuka