Without Props is a Blog that considers film's and their skeletons. And by 'skeleton's', I'm not referring to the hidden secrets, tall tales, or the just plain wrong and twisted hanging in each film's backstage closet! Rather I'll be looking at each films unique anatomy; their bone structure if you like. I'll be stripping away all that protective tissue, muscle, fat, and even the brains behind creative direction - what I identify as 'props'. Extracting each films bare essentials and putting them under the microscope to ask "what do they really stand for and meant to represent?"... Now I'm no surgeon so my technique in these kind of 'close examination' operations may be a little dodge, but I'll do my best at unstitching, swabbing, and cutting into the areas that I feel deserves the attention! And more importantly, mapping out the bones (the films structure) that hold it all together! Attention to camera angles, lighting, location, framing and more, I literally want to look at film in a 'black and white' sense. (I do realise that a lot of the films I'll be blogging about are in fact black and white! Though you understand the metaphor - right?) Like taking an X-Ray to see each films framework! I suppose what I'd like to achieve with this blog is whether one CAN consider film without props? How much of a difference do they really make? We'll have to wait and see! So read this blog for a sanitized look at film - without props.



And P.S sorry for the overdone medical jargon. Happy reading!

Sunday 29 May 2011

TOKYO STORY, 1953. Dir. Yasujiro Ozu

        Tokyo Story is a film about people, identity, culture and values that combined, mirror a distinct and unique Japanese life. The film unveils a world completely of its own. A world separate from anything anyone can understand, without living and being Japanese themselves.
        This is what I find very interesting about culture. Unless you have been born into a particular race or culture, or raised by those foreign to your own identity, you have no idea what it is like to be eastern or western, for there is such a divide between the two. This divide between the east and the west is as grand as the distance in oceans that separate these different shores, and yet simultaneously, can be marked by a thin hairline crack. Being eastern or western, you will never be able to understand the other. Even with, I would suggest, ethnographic or symbolic anthropological study Clifford Geertz! Though ‘Sayuki’ below is living proof that perhaps I’m wrong?






Figure 1: ‘Sayuki’ (centre) no longer refers to her western name, Fiona Graham, who now teaches local and foreign students about Japanese traditional culture from a foreign perspective, as well as providing foreign perceptions of Japan.




HUH???
        Watching Tokyo story magnified something completely alien to what I know about life and the people I share it with. When I was growing up, I learnt to be an individual; to be creative and adventurous, and to express love and feeling, acting in a way that was natural to me and what I believed in. Now I cannot really make any clear statements or judgement of how Japanese people have been raised by their culture and race, though I might say, that belonging to a culture as defined historically and deeply rooted in tradition as the Japanese, I doubt being raised in any other way was/is possible. I do not mean to shed bad lighting on a culture that I do not understand. Growing up with morals and duties and having honour are all respectable and admirable. However, it is the extent to which, such morals and duty become the Japanese way of life that differs from westerners (mostly) way to live life.
Figure 2: "I'm sorry, your family is ruined!"
Certain opinions in the film that stood out for me as some-what problematic included, “What if your sister isn’t who she really is?” and “Don’t you care that it can ruin our lives?” such quotes suggests that the Japanese are concerned with how they behave and appear in front of others, particularly family, in its potency to scar or bruise the family name or identity. Obviously this is also a concern of western families and people, though not knowing who someone is, or who they might be that is different to being true to themselves, is unusual. It is even more unusual, that a person can have such a deep impact on the entire family that it would lead other family members to disown them for their acts that have tarnished the families name and prospects. It is made evident in the film, that once the sister’s (I would say) ‘nocturnal self’ is discovered; she is no longer welcomed and accepted by friends or her employees. Though even sadder, she is no longer part of her own family; a family that she has raised and taken all measures to guarantee protection and security. 
        It seems in this particular portrayal of Japanese life and customs, forgiveness is hard to come by, if at all. For some reason, suicide is much more respectable than forgiveness. And I suppose this is where the east and west divide more than anywhere else. In western view, nothing is worth dying for that I think differs from the east, where conquering death is being fearless, and honourable.
        I think the Japanese have a culture that we can all learn from, though one step at a time. At face value, they appear quiet and contemplative, highly respectful of others, and polite. Now who can list any western cultures that hold ALL these attributes and more? Such qualities are presented throughout the film during typical Japanese meal time, which is conducted sitting on the floor, to the woman’s everyday house-chores and taking care of her husband and family indoors. Their lifestyle seems functional and successful, though in the film, I think the director has captured a side of this standard of living that is more imprisoning and grey. Yet generally, in having rules and duty, I think the Japanese actually find some peace and pleasure in such accomplishments. Perhaps they lack a lot of freedoms that westerners have easy access too, though I think for the most part, they do not sugar-coat a life that is either tough or easy, it is very black and white. It is also appears very natural.  
Figure 3: Meal time, Japanese style
 
        In attempt to find some sort of conclusion in where the east and west diverge, it is that you will be born as a person from a definite race. Your skin will always be your skin and that which (at first appearances) defines you. Your culture may change and adapt depending on where you are raised and where you live. (While I am sure I will have disagreements to this opinion) you cannot be truly ‘Asian’ if you are a westerner who lives in Asia, nor can you be western if you are Asian living in the USA or any other predominantly white nation. You might be westernised as an Asian, but you are not American, for example. Of course the exception to this and that which has made Australia into the multicultural nation that it is today, is if you come from an Asian family, but are born and raised in Australia. And this is where the east and west divide becomes that hairline crack.     
        Your background is one of the most important things that define who are you, (though perhaps differing (generally) from a strict Asian up-bringing), you have the ability to transform into who you want to become. I think cultural identity is so important for a world that is characterised by diversity. If the world’s people were all the same, it would not be world worth living in. Human history is an array of languages, religions, histories and cultures, and as in Tokyo story, it is important to get a glimpse of a people and place that is so different to your own, making you aware of a world that is much bigger than you will ever be a part of. However, I will say, without sounding too hopeless, there is always opportunity to get a taste of it!

3 comments:

  1. Hey Clare! This is interesting because i had a completely different response to the film (culturally). I agree, it must have been strange for someone not of Asian origin to appreciate the realism of Tokyo Story because Japanese culture is so deeply embedded within the aesthetics and affects of the film. For me, as someone born and raised within Asian culture, I was more understanding towards the events and emotions. The traditions of family and the honouring of one's parents was an issue that, through experience, was highlighted and emotionally heightened. Ozu does a very good job at presenting these visually through the film but i feel like that culture allows a deeper understanding to the real emotions being narrated.

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  2. Great entry! I agree with Sophia. There are some "advantages" in understanding this film through an Asian lense. As a Japanese North American (Canadian and American), I could see the film's relevancy in Japanese life. However, as fourth generation, I saw the film as more of a comparison/ contrast between western and Japanese culture. I agree that there is a fine line between eastern and western culture, but I think the film resonates with non-Japanese as well. For me, the universal question was: How does one keep their traditions alive in a progressive world? (something that I struggle with)

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  3. I really like the way you have approached Ozu with your own upbringing as his films definitely attempt to present universal archetypes. I'm not sure how faithful his characters are to the traditional dynamics of Japanese families but I definitely found their relationships a little destabilising too. I like Kim's idea about the sustainability of tradition in a drastically changing environment... the destruction of some of these family values can be seen by the painful generation gap between the visiting parents and their grandchildren.

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