Locating Heisei In Japanese Fiction And Film

This book provides the first interdisciplinary examination of the popular fiction and film of the “lost decades” of Japan’s Heisei period (1989–2019). Presenting original analysis of major Heisei writers, filmmakers, and manga artists, the chapters examine the work of Urasawa Naoki, Kurosawa Kiyoshi, Murakami Haruki, and Shinkai Makoto, among others. Through the work of these cultural figures, the book also explores the struggle to define the history of Heisei—three decades of economic stagnation, social malaise, and natural disaster. In particular, it explores the dissonance between the dominant history of Japan’s recent past and the representation of this past in the popular imagination of the period. In so doing, this book argues that traumatic events from the years leading up to Heisei complicate the narration of a cohesive sense of history for the period, requiring works of fiction and film to explore new connections to the past. Incorporating literary and film theory to assess the works of culture, Locating Heisei in Japanese Fiction and Film will be useful to students and scholars of Japanese culture, society, and history.

This book explores significant representations of Shinto and Buddhist sacred space, spiritual symbols, and religious concepts that are embedded in the secular framework of Japanese films aimed at general audiences in Japan and globally. These cinematic masterpieces by directors Akira Kurosawa, Hayao Miyazaki, Hirokazu Kore-eda, and Makoto Shinkai operate as expressions of and, potentially, catalysts for transcendence of various kinds, particularly during the Heisei era (1989–2019), when Japan experienced severe economic hardship and devastating natural disasters. The book’s approach to aesthetics and religion employs the multifaceted concepts of ma (structuring intervals, liminal space-time), kū (emptiness, sky), mono no aware (compassionate sensibility, resigned sadness), and musubi (generative interconnection), examining the dynamic, evolving nature of these ancient principles that are at once spiritual, aesthetic, and philosophical. Scholars and enthusiasts of Japanese cinema (live action and anime), religion and film, cinematic aesthetics, and the relationship between East Asian religions and the arts will find fresh perspectives on these in this book, which moves beyond conventional notions of transcendental style and essentialized approaches to the multivalent richness of Japanese aesthetics.

Over the last 70 years, Japanese Studies scholarship has gone through several dominant paradigms, from ‘demystifying the Japanese’, to analysis of Japanese economic strength, to discussion of global interest in Japanese popular culture. This book assesses this literature, considering future directions for research into the 2020s and beyond. Shifting the geographical emphasis of Japanese Studies away from the West to the Asia-Pacific region, this book identifies topic areas in which research focusing on Japan will play an important role in global debates in the coming years. This includes the evolution of area studies, coping with aging populations, the various patterns of migration and environmental breakdown. With chapters from an international team of contributors, including significant representation from the Asia-Pacific region, this book enacts Yoshio Sugimoto’s notion of ‘cosmopolitan methodology’ to discuss Japan in an interdisciplinary and transnational context and provides overviews of how Japanese Studies is evolving in other Asian countries such as China and Indonesia. New Frontiers in Japanese Studies is a thought-provoking volume and will be of great interest to students and scholars of Japanese and Asian Studies. The Introduction and Chapter 1 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

Based on extensive survey data, this book examines how the population of Japan has experienced and processed three decades of rapid social change from the highly egalitarian high growth economy of the 1980s to the economically stagnating and demographically shrinking gap society of the 2010s. It discusses social attitudes and values towards, for example, work, gender roles, family, welfare and politics, highlighting certain subgroups which have been particularly affected by societal changes. It explores social consciousness and concludes that although many Japanese people identify as middle class, their reasons for doing so have changed over time, with the result that the optimistic view prevailing in the 1980s, confident of upward mobility, has been replaced by people having a much more realistic view of their social status.

Drawing on the concept of the somatic self, Castro-Vázquez explores how Japanese men think about, express and interpret their experiences concerning bodyweight control. Based on an extensive ethnographic investigation, this book offers a compelling analysis of male obesity and overweight in Japan from a symbolic interactionism perspective to delve into structure, meaning, practice and subjectivity underpinning the experiences of a group of middle-aged, Japanese men grappling with body weight control. Castro-Vázquez frames obesity and overweight within historical and current global and sociological debates that help to highlight the significance of the Japanese case. By drawing on evidence from different locations and contexts, he sustains a comparative perspective to extend and deepen the analysis. A valuable resource for scholars both of contemporary masculinity and of medical sociology, especially those with a particular interest in Japan.

Why are there so few Japanese women involved in the political system? In 2019, Japanese women made up 10% of the national Lower House, 21% of the Upper House, and 14% of local assemblies. According to the Inter-Parliamentary Union, this places Japan 164th out of 193 countries when it comes to women’s representation in the legislature. The percentage of women in the Lower House has only increased by fewer than two percentage points since women gained full suffrage and the right to stand for election in Japan in 1946. Eto analyses the various factors that have led to women’s low presence in the Japanese legislature. She evaluates ways in which it might be possible for Japan to catch up and, in doing so, examines how Japanese society continues to perpetuate gender-rigid expectations of people. This text is a valuable study for scholars of Japanese politics and society, and for readers with an interest in the broader issue of the representation of women in politics.

This book offers a reassessment of how "matter" – in the context of art history, criticism, and architecture – pursued a radical definition of "multiplicity", against the dominant and hierarchical tendencies underwriting post-fascist Japan. Through theoretical analysis of works by artists and critics such as Okamoto Taro, Hanada Kiyoteru, Kawara On, Isozaki Arata, Kawaguchi Tatsuo, and Nakahira Takuma, this highly illustrated text identifies formal oppositions frequently evoked in the Japanese avant-garde, between cognition and image, self and other, human and thing, and one and many, in mediums ranging from painting and photography, to sculpture and architecture. In addition to an "aesthetics of separation" which refuses the integrationist implications of the human, the author proposes the "anthropofugal" – meaning fleeing the human – as an original concept through which to understand matter in the epistemic universe of the postwar Japanese avant-garde. Chapters in this publication offer critical insights into how artists and critics grounded their work in active disengagement, to advance an ethics of nondominance. Avant-Garde Art and Nondominant Thought in Postwar Japan will appeal to students and scholars of Japanese studies, art history, and visual cultures more widely.

Films like Shoplifters and After the Storm have made Kore-eda Hirokazu one of the most acclaimed auteurs working today. Critics often see Kore-eda as a director steeped in the Japanese tradition defined by Yasujirō Ozu. Marc Yamada, however, views Kore-eda’s work in relation to the same socioeconomic concerns explored by other contemporary international filmmakers. Yamada reveals that a type of excess, not the minimalism associated with traditional aesthetics, defines Kore-eda’s trademark humanism. This excess manifests in small moments when a desire for human connection exceeds the logic of the institutions and policies formed by the neoliberal values that have shaped modern-day Japan. As Yamada shows, Kore-eda captures the shared spaces formed by bodies that move, perform, and assemble in ways that express the humanistic impulse at the core of the filmmaker’s expanding worldwide appeal.