Session 5 - August 7, Kerim Yasar, USC

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Waves of the Ocean: Gender and Generation in Ozu’s Late Spring

 

Please download and read the attachment below in preparation for Professor Kerim Yasar's lecture. 

 

If possible, please watch the film Late Spring directed by Yasujiro Ozu. It is available on Kanopy (https://www.kanopy.com/product/late-spring), through many public libraries as a DVD, on the Criterion Channel (https://www.criterionchannel.com/late-spring, a paid streaming service), as well as rented through various streaming services such as Amazon, Apple, Vudu, Google, etc.

 

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[Marcos Rico]

This article talks about Yasujiro Ozu film work after WWll. It is great to be able to see post war Japan from one of their film makers point of view. What surprised me the most is that the official USA occupation of Japan after WWll only lasted from August 1945 to April 1952. It was only 6 years and 8 months! Yet, the influence of the USA has reshaped their culture and economy. The USA has been in Afghanistan since 2001, and there is still no end in sight. On the opposite the war in Afghanistan, is having a lasting effect in our society.

[Celeste Modster]

I enjoyed reading Vanished Men, Complex Women by Mauricio Castro. The article discusses Yasujiro Ozu's film work after WWII.  I was able to visualize Ozu's social comentary on the the impact and aftermath of the what he describes as the War Memories which shaped the nation and the people. His story lines and characterizations were meant to portray the effects of the political, social and demographics transformations of Post War Japan. I believe his films were important because they spoke of the Occupation that mandated reform resulting in a changed Japan. Vanished men in his films were visually absent in his scenes but thought of in conversation or sometimes silence. Complex women made choices in who they married even when a father didn't approve. There was reference to Good Wives and Wise Mothers and political figures. Ozu's use of symbolism intended to juxtapose modernity with fragmentation. His strategic repeat character names created continuity in his series of films and the families represented archetypes of the Middle Class Japanese family. Mauricio Castro concludes his article with, "The last image he leaves us with is that of Wataru riding the train to visit his daughter in Hiroshima in order to reconcile with her. The ultimate symbol of modernity and fragmentation becomes a symbol of hope and reconciliation." This article allowed me to visualize Ozu's cinematic artistry and his attention to sensitivity and openmindedness. I am looking forward to seeing this film. 

[Deanna Wiist]

Castro’s article offers a fresh look at the work of Yasujiro Ozu, particularly four of his films from the period of the US occupation of Japan. I’ve never seen any of Ozu’s films, but I’ll have a greater appreciation for them having read Castro's analysis. In the article, Castro talks about Ozu’s incorporation of the post-war experience into his work without it being overbearing. One great example is the absence of men who came of age and served during the war—an acknowledgment of the devastation the war had on that generation of men. I appreciated this article and Castro’s analysis because this is an area of history that is frequently skipped in American history classes. Our courses often jump from the surrender of the Japanese to the Cold War without much discussion of what rebuilding really entails. I think this is especially true about World War II. More attention is paid to the aftermath of World War I and the Lost Generation. 

Castro also recognizes that the women do not fit neatly into stereotypes or boxes in Ozu’s films. There’s contradiction in the women. A signal, perhaps, of the changing status of women in Japanese society and recognition of that in the arts.

 

 

 

[Madeline George]

After reading the article, I can’t wait to watch one of Ozu’s movies.  The description makes it sound kind of like a Jane Austen novel.  Simple plot, but it’s all in the way it plays out.   There are apparently tons of era context clues that the WW2 era would see, recognize, and understand within Ozu’s movies.  One example being the daughter in one of his films getting treatment for mlanourishment due to the war era shortages and this treatment postponing her possibly finding a husband.  I would like to see if I would catch onto to these era impied plot details.  I’m interested in hearing what our lecturer has to say about this topic.

 

 

[Madeline George]

After reading the article, I can’t wait to watch one of Ozu’s movies.  The description makes it sound kind of like a Jane Austen novel.  Simple plot, but it’s all in the way it plays out.   There are apparently tons of era context clues that the WW2 era would see, recognize, and understand within Ozu’s movies.  One example being the daughter in one of his films getting treatment for mlanourishment due to the war era shortages and this treatment postponing her possibly finding a husband.  I would like to see if I would catch onto to these era impied plot details.  I’m interested in hearing what our lecturer has to say about this topic.

 

 

[Midori Sanchez]

Yesterday was the 74th anniversary of the bombing of Hiroshima. Ozu found away to bring attention to issues brought about by the war in a setting where he could have a captive audience. Film often allows expression and dissatisfaction with current issues but because it is art, people can be more open to its message. 

In "Vanished Men", the sons or men in the family, especially the oldest son, are important to the family by carrying on the family name and also with inheritance. Ozu bringing attention to the loss of the oldest son and the devastation surrounding that disappearance was probably incredibly moving for Japanese audiences, but also is relatable across nations at the sacrifice of especially young men for war. 

[Frederic Vial]

Ozu's films portray and provide an extensive social commentary on post-WWII Japan - specifically as it related to Japan's sociopolitical changes brought about by the Occupation (the 8-yearrebuilding efforts conducted by the United States from 1945-1953).  By revealing familial changes and interactions, Ozu strategically and poignantly uses the family unit as a microcosm for changes that were readily occurring in post-WWII Japan.  The absence of the young single male is palpable in Ozu's early work.  This absence is not only a result of or due to a generation of young men killed during the war but of the silencing and disappearance of the Japanese male due to shame as a result of losing the war.  As is made clear by Macarthur's post-WWII plan, the immediate disintegration of the Japanese military was the first step.  Japan's new constitutional draft, specifically Article 24, references the immediate changes with respect to traditional male/female roles.  Women would have the right to choose their husbands, for instance.  Property rights, inheritance, gender roles would also be examined and equated.  The power vacuum created, the absence of influence by the Japanese male, would influence Japan's rebuilding process and cause a disappearance of young Japanese men in more ways than one.

[Diana Corey]

I have really enjoyed the exercise of going through this film, watching only a selection of scenes, carefully selected and cut, hearing about and engaging in discussion about what is going on, what the director is trying to convey, and the political backdrop that shaped his creation of the film. I show a film each year in each of my classes and provide discussion questions for each and additional activities at the upper levels. I could incorporate more films by using this process, only showing a few scenes, maybe focusing on select lines of dialog, relationship dynamics, or images depending on what my objective during that unit is. This would generate interest for students to go watch the rest of the film and be immersed in Chinese that much more. I always retain a lot more through videos than readings, so this is an approach that would work well for my personal learning style, and would certainly be engaging for my students. 

[Lin Kuang]

We were watching clips from Late Spring (1949) directed by Yasujiri Ozu who was considered as one of the "Big Three"postwar directors. I really think this very silent and plain films reflecting the poat war Japanese family issues, which is really resonable. The Character seems very attached to her father and demonstrated her filial respect to her father. She wanted to stay with her widowed father not to get married at the very begining. Through the conversation, we found that the arraged marriage will bring her happines from traditional point of view. It seems she had her ideal husband like American baseball play Dary Cooper. Itś surprisingly to see the conflicts between two generations, and Noriko finally subdued to Japanese tradtion to follow her fatherś advice to get married with someone arranged. Their thoughts and concepts about being happy is so simple as to stay with her father / or getting married and being a good wife instead of pursuing her own happiness. I wonder what exactly will make her happy. She probably doesn even know what happiness for her. She is living a life not for her, just for her family. How does she define the roles of being a woman? Is it just for reproduction, being mom and wife, or a filial daughter to her father? What bigger pictures did she see in her life rather than just being a women in Japan under the allied power occupation?

 

[Amy Chen]

Throughout the clips, you can see the modern generation in contrast with the older one. The way the Aunt dresses and behaves is different than how Noriko does. Ioko stands out as wild card character who presents a different perspective than the rest of the cast. Although she appears to be a modern divorced woman living independently, Ioko persuades Noriko to go for an arranged marriage. The ending is interesting because we finally see Noriko in a traditional kimono and bowing to her father. The scene is simple but touching.

 

[Midori Sanchez]

Difference in generations. 

While we may view Asians and Japanese as "seen but not heard", we learned yesterday that Korean women (especially older generations) are actually more feisty. This is also evident in Ozu's film "Banshyu" with Noriko's aunt in trying to pursue her mission to ensure that Noriko is married off. When she interacts with Noriko, her heart is in the right place but the difference in generation to make sure that young women are married is still one that creates discomfort. 

The universality that Professor Yasar mentioned was one I recognized from the reading about "Tokyo Story" and "Early Summer" with the loss of young men during war and war's ability to destroy families, but I also reognized the universality in "Late Spring" of being a young, unmarried woman living in the United States. Conversations that seem to come up with my family and even my students revolved around whether I am married or planning on getting married rather than more of my pursuits with my education or my career. Also, whether or not I would change my name if I did choose to get married. While I am living in the 21st century and a different country, I can empathize with Noriko at her world's expectations of marriage.  

[Nira Sun]

I was having the similar thought as we went over the film clip by clip. What I usually do in a classroom is to have them watch the entire film all at once followed by discussion or questions. I found Prof. Yasar's approach worth of trying in high school classroom as well. Due to the time limit of each class session, showing clips might help to minimize the loss of instructional time. In addition to that, it seems to be more effective to break down the film and select targeted scenes that reflect the objective(s) of that lesson. 

I have had my students compare the Disney version of Mulan (1998) and the Chinese version of Mulan (2009) before. Since I didn't have 4 hours to play both movies in class, I assigned the movies as homework as preparation of their debate. Now looking back, if I were to revise it, I would choose to show clips that represent the perspectives that I would like them to notice and analyze in both movies. I would also design discussion sessions after each clip to actively engage students in critical thinking process. I have always found it's fascinating when mix of thoughts and interpretation come into contact with one another. I believe that's a good educational moment to guide our students to appreciate others' perspectives. 

 

[Midori Sanchez]

Hello,

I loved that you brought up the wardrobe of the characters! That definitely helps drive the difference of generations in addition to their dialogue and even the houses/furniture. It doesn't seem like Noriko's friend lives with regret and seems to use her experiences with divorce to help advise Noriko. She is the only female character that seems to go "outside" of the home area that women were expected to be in charge of. It is interesting that she is so casual about dropping hints to her previous marriage; I wonder what she is thinking on the inside.

[Marcos Garrido]

The article assigned explains that Ozu has a tendency to use his films to explain the socio-economic transformation of Japan during American occupation, and it’s really interesting to see this transformation visually in these films. As we watched some of these clips, Japan is predominantly a patriarchal society and some of its customs clash with Westerns ideals. It’s also interesting to see the transformation of post war Japan, and the embracement of some Western Culture by its citizens, and like Marcos said, the huge contrast that there is with American occupation of middle eastern countries. I'm trying to understand why Japan became successful after WWII, and what were some of the gender roles in post war Japan. Ozu’s films also reflect the impact of American occupation in terms of marketing, and how some companies like Coca-cola advertise their product in English instead of Japanse. 

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