The Fragmented Family on Film: Kinoshita Keisuke's Nihon no Higeki (The Tragedy of Japan) (1953) and the Antecedents of the Contemporary Fragmented Family in Japan
نویسنده
چکیده
1. From moral panics in print media to recent films such as Kurosawa Kiyoshi's Tokyo Sonata (2008), Japanese mass culture has been much concerned with the image of the fragmented family. Fragmentation is often discussed as a recent occurrence caused by the alienation of the internet age, or contemporary phenomena such as the otaku, the kyoiku mama, the salaryman dad or the parasite single.[1] Using Kinoshita Keisuke's Nihon no Higeki (The Tragedy of Japan) (1953) as a case study, I want to suggest that a public discourse of the fragmented family was present in Japanese mass culture as early as the post-defeat years of the 1950s. Analysing Kinoshita's film in its historical context demonstrates the occurrence of fissures in the family structure during Japan's first decade of postwar independence. I posit film as a mass medium through which social anxieties such as those of the fragmented family were not only discussed, but also to a certain extent negotiated and alleviated.
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