In the literature on atomic bomb-related themes in Japanese cinema we find a number of trends. There are critics who see the bombings as the key stimulus to entire film genres, including the works of Yasujiro Ozu and others, concerned as they were with rapid post-war social transformations and their related spiritual costs. Hiroshima protest films during the occupation, the reluctance of directors to be associated shohei Imamura PDF the political left, and the policy of Japanese distributors to show protest films infrequently, in remote venues, with little promotion.
Première monographie en dehors du Japon consacrée à Shohei Imamura, célébré en Europe par deux palmes d’or du Festival International du Film de Cannes, pour La Ballade de Narayama (Narayama bushi-ko) et L’Anguille (Inagi), ce livre d’entretiens avec le cinéaste et de témoignages de ses comédiens et collaborateurs, entend mettre en lumière un des grands cinéastes japonais contemporains. De sa formation dans les » Majors » japonaises où il est assistant réalisateur, jusqu’à ses derniers films comme réalisateur, ce livre entend refléter son parcours, ses lignes thématiques, ses préoccupations, ses méthodes de travail, qui font de lui un cinéaste original, libre, dont toute la démarche est une recherche passionnée de l’être humain, dans l’Histoire et la contre-Histoire du Japon.
This awareness of evanescence and the resulting lamentation has a term in Japanese: mono no aware . This is certainly one reasonably effective form of reconciliation and integration. I think he indicates that there is reason to see this attitude as falling short of a genuinely Buddhist one. The films I have chosen to highlight do not rest with mono no aware reconciliation.
They force us to feel a deep and unsettling sense of unfinished business, if not outrage. And they beg us to channel these feelings toward the reduction of suffering. In their ways they rebel against the notion that we should get over all this, because, after all, suffering is inevitable. It examines in detail the post-nuclear effects on the life of a woman poisoned by the fallout-laden black rain of the Hiroshima blast and on her family and her village. There is a powerful account of the detonation itself. The family has survived the worst of the war, everything is back to normal, and the family is engaged in the everyday business of finding Yasuko a marriage partner. Yet there are immediate reminders of the past directly affecting the present: Yasuko visits a clinic to get a certificate of health.
Yasuko, who now lives with Shigeko and Shigematsu, has advanced well into her marriageable years, but has received no proposal for marriage because potential suitors have doubts about her health. At the time of the explosion, Yasuko was, as we saw, outside the city, but while traveling to search for her relatives after the blast, she was caught in a shower of radioactive black rain. Gulf War and the current Iraq invasion. But the lesson of course extends to all of humanity.
Bikini incident, in which an unexpectedly large detonation on the Bikini atoll poisoned the crew members of the Japanese vessel Lucky Dragon. In the foreground is a series of compelling tableaux in which Nakajima appeals to his family members, individually and collectively, to see his way of thinking. Black Rain: who is mad or irrational? Nakajima or the society around him? I want to look at three scenes in which the Hiroshima bomb image is especially prevalent. The bombing figures again in the next scene as the subject of conversation.
The argument ends when he collapses. Later, upon waking on the floor below, he overhears that it is their fear of losing the steady income from his successful foundry that fuels their opposition to his plan. Cavanaugh is critical of the turn in Japanese post-war cinema I Live In Fear represents. America for the bomb, on the one hand, and the mono no aware theme of sad acceptance and moving on, on the other. It refuses to become reconciled to the dangers. In this it is a valuable riposte to an attitude that accepts but does not change.
This film differs from the usual atom bomb film in many ways. First, it recognizes that the bomb is out of control, that no one single country owns it, that it is one of the facts of existence in this century. Then, it offers no panacea whatever, no talk of how nice it would be if every one stopped testing it. Mifune is paralyzed by fear, also recognizes a core of sanity in his soul. The film failed financially, and Kurosawa turned at this point to work almost exclusively on historical period pieces. Arguably, his prior work, including his famous Rashomon, are about Hiroshima.