Re-Viewing the Past : The Uses of History in the Cinema of Imperial Japan

Re-Viewing the Past: The Uses of History in the Cinema of Imperial Japan analyzes the complicated relationship between history films, audiences, reviewers and censors in Japan for the critically important years from 1925-1945. First contextualizing the history of the popular “Bakumatsu” period (1853-1868), the moment of Japan's emergence as a modern nation, Sean O'Reilly paves the way for a reinterpretation of Japanese pre and postwar cinema. Setting a film in the Bakumatsu period offered 'cultural breathing room' to both filmmakers and viewers, offering a cinematic space where apolitical entertainment and now-forbidden themes like romance still reigned. Some filmmakers-and viewers-even conceived of these films as being a form of resistance against Japan's growing militarism. As comparisons between the popularity of such films versus that of state-sponsored propaganda films show, audiences responded enthusiastically to these glimmers of resistance. O'Reilly argues that we should turn our attention to the much more popular films of the time that were major hits with audiences in order to understand what resonated with wartime spectators, and to speculate about why this might have been the case. Including clips of these rare films, a so-far neglected area of Japanese film history is now firmly situated in context to offer a thought-provoking, multidisciplinary approach. Cover Half Title Title Copyright Dedication Contents Acknowledgments A Note on Copyright and Name Order Introduction Why analyze popular history films from Japan? What each chapter seeks to address Popular culture and the culture industry: Theoretical underpinnings History as event: The Bakumatsu 1 Valorizing the villains: The first Bakumatsu boom and 1927’s Sonnō jōi Historical resentment and the social function of the Bakumatsu boom Sonnō jōi and the changing mythologies of the Bakumatsu Close analysis: The assassination scene, minutes 98:58 to 100:14 The uses of revisionism 2 History as nonsense: Historical parodies of the Bakumatsu period The king of comedy: Enomoto “Enoken” Ken’ichi Bakumatsu as nonsense: Enoken Plays Kondō Isami Kondō as parody of Bakumatsu history—and the period-film genre Comedic precursors: The Yaji Kita film trilogy Laughing at the patriots: Revering the Emperor Inspired by Hollywood? Behind the Front The uses of comedy 3 Serial history: Kurama Tengu Presentational heroes, intertextual stars Kurama Tengu films from the late 1920s Shifting the target audience: Kurama Tengu in the late 1930s The most popular Kurama Tengu film of the war: Itō Daisuke’s adaptation Comparing Itō’s version to other 1940s Kurama Tengu films The uses of Kurama Tengu 4 Consuming hate-the-enemy history The Anglo-Satsuma War on film: The Pirates’ Flag Is Blasted Away Film and empire: Signal Fires over Shanghai The uses of ambiguity 5 Romancing history Armed and dangerous: The Woman Who Wields a Sword The late-1930s model of historical femininity: Flowers Have Fallen The early-1943 model of historical femininity: Kantarō of Ina Love over duty: Outa as true protagonist of Chō ji the Famous Sculptor Slapstick in Chōji the Famous Sculptor The politics: Analysis of Kusakabe “killing” Vairocana, minutes 53:52 to 56:25 The romance: Analyzing the climax of the film, minutes 66:12 to 68:50 The victory of love: Outa’s motivation Vengeful virtue: A woman’s vendetta in Bijomaru the Famous Sword The uses of romance Epilogue: Transwar Japan Beyond 1945: Bakumatsu films and transwar Japan A period film with a buzz cut: The Last Expulsionist Party Glossary of Key Abbreviations and Terms Bibliography Primary Sources Asahi shinbun Kokusai eiga shinbun (The International Motion Picture Trade Paper) Eiga junpō Eiga ken’etsu jihō Kinema junpō Kinema shūho Nippon eiga Chirashi (film handbills) Ito Daisuke bunko (held in the archives of the Museum of Kyoto) Shin eiga Miscellaneous Makino Collection (Starr Library, Columbia University) Secondary Literature Filmography Index This Book Analyzes The Complicated Relationship Between History Films, Audiences, Reviewers And Censors In Japan For The Critically Important Years From 1925-1945. First Contextualizing The History Of The Popular Bakumatsu Period (1853-1868), The Moment Of Japan's Emergence As A Modern Nation, Sean O'reilly Paves The Way For A Reinterpretation Of Japanese Pre And Postwar Cinema. Setting A Film In The Bakumatsu Period Offered `cultural Breathing Room' To Both Filmmakers And Viewers, Offering A Cinematic Space Where Apolitical Entertainment And Now-forbidden Themes Like Romance Still Reigned. Some Filmmakers-and Viewers-even Conceived Of These Films As Being A Form Of Resistance Against Japan's Growing Militarism. As Comparisons Between The Popularity Of Such Films Versus That Of State-sponsored Propaganda Films Show, Audiences Responded Enthusiastically To These Glimmers Of Resistance. O'reilly Argues That We Should Turn Our Attention To The Much More Popular Films Of The Time That Were Major Hits With Audiences In Order To Understand What Resonated With Wartime Spectators, And To Speculate About Why This Might Have Been The Case. Including Clips Of These Rare Films, A So-far Neglected Area Of Japanese Film History Is Now Firmly Situated In Context To Offer A Thought-provoking, Multidisciplinary Approach. Introduction -- Valorizing The Villains : The First Bakumatsu Boom And 1927's Sonnō Jōi -- History As Nonsense : Historical Parodies Of The Bakumatsu Period -- Serial History : Kurama Tengu -- Consuming Hate-the-enemy History -- Romancing History -- Epilogue : Transwar Japan. Sean D. O'reilly. Includes Bibliographical References (pages 279-292), Filmography (pages 293-296) And Index. "Re-Viewing the Past: The Uses of History in the Cinema of Imperial Japan analyzes the complicated relationship between history films, audiences, reviewers and censors in Japan for the critically important years from 1925-1945. First contextualizing the history of the popular "Bakumatsu" period (1853-1868), the moment of Japan's emergence as a modern nation, Sean O'Reilly paves the way for a reinterpretation of Japanese pre and postwar cinema. Setting a film in the Bakumatsu period offered 'cultural breathing room' to both filmmakers and viewers, offering a cinematic space where apolitical entertainment and now-forbidden themes like romance still reigned. Some filmmakers-and viewers-even conceived of these films as being a form of resistance against Japan's growing militarism"--Bloomsbury Screen Studies