Analysis of Regional Representations

Japan is divided into distinct regions that - as we have learned this quarter - can have vast cultural differences. Four of these regions were represented in the works we covered: Kanto, Kansai, Okinawa, and Tohoku. Here, I discuss which works represented which areas, and what impression they gave of their respective culture.

Kanto

The Kanto region is home to nearly one-third of Japan's total population. It encompasses the major cities of Tokyo - Japan's current capital - and Yokohama. The works we studied that took place in this region included: Tampopo, Adrift in Tokyo, Sanshiro, From Up on Poppy Hill, Ping Pong, Ikiru, and Godzilla. Based on these works, we get an impression of Kanto as the hub of Japanese commerce, government, and Western influences. It is home to a wide range of people and is especially attractive to young adults, since Tokyo is a place where they have potential to "make it big".

These themes are especially prominent when we take into account how they are represented across works. For example, consider Kanto as the home of people from extremely different walks of life. Even in our small sample of six films and one novel, we see multiple character classes from polar perspectives. Adrift in Tokyo and Sanshiro both follow a university student as they journey (both literally and metaphorically) around Tokyo. Fumiya is a city native who has been in school for eight years. Sanshiro is a country native who has just started at the University of Tokyo and seems to be breezing by his classes. Though they both seem to be awestruck by the things they encounter in Tokyo, Fumiya and Sanshiro are two very different types of students. High school students comprise another character class that we observed. The students in From Up on Poppy Hill have highly intellectual ambitions, seeking to protect their school's history and fighting to preserve a space for academically-oriented after-school organizations. As before, we also saw the opposite end of the "high school students" spectrum in watching Ping Pong. In this film, there was no emphasis on academics at all. Rather, one of the protagonists (Peco) even sought to be a professional ping-pong player. More evidence of this theme can be found when we examine Tampopo and Ikiru in parallel - the films highlight Tampopo and Watanabe's careers as a ramen shop owner and bureaucrat, respectively. This pair of films also demonstrates Kanto as a region of commerce and government, as we bear witness to the numerous ramen shops in Tampopo, the diversity of nightlife activities in Ikiru, and the inner workings of the system with which Watanabe has to struggle in order to succeed. The idea of Kanto as a center for nearly everyone and everything culminates in Godzilla, where we see that the monster attacking Japan ravishes Tokyo - clearly symbolizing the heart of the nation.

Kansai

The Kansai region encompasses the major cities of Kyoto - Japan's old capital - and Osaka. The works we studied that took place in this region included: Sisters of the Gion, "The Reed Cutter", and The Makioka Sisters. Because it is home to Kyoto, Kansai is deeply associated with the traditional beauty and older culture of Japan. The region is also where TANIZAKI Jun'ichiro went in rejection of all things Western, rediscovering Japan's traditional culture and putting Kansai on the map in terms of modern Japanese literature.

A sense of older Japanese culture is very apparent in the two films set in this region. The character of Umekichi from Sisters of the Gion is shown as being a geisha very devoted to her patron - an attitude that progressive feminist thinkers (such as her sister, Omocha) may not agree with. Omocha, depicted as a rebel who refuses to subject herself to the whims of men, ends up as the victim of a terrible accident, in what can be interpreted as a harsh rejection of the non-traditional way. The Makioka Sisters follows a somewhat similar portrayal of the values held by Kansai women. Tsuruko, Sachiko, Yukiko, and Taeko all abide by the hierarchy dictated by their birth order. Despite strong resistance from her younger sisters, Tsuruko feels the need to follow tradition and find a husband for Yukiko before Taeko is permitted to marry. Once again, the rebellious one (Taeko) ends up suffering the consequences of forging her own path instead of following custom. The Makioka Sisters also does an excellent job of pointing out the physical beauty of Kansai, drawing attention to the cherry blossoms that the sisters go to see every year. This appreciation of Kansai's natural beauty is further expressed in TANIZAKI's "The Reed Cutter", a short story in which an elderly narrator strolls by the moonlit Yodo River until coming to rest by a patch of reeds. A supposed reed cutter emerges, and proceeds to tell the narrator about the struggles his father faced due to customs that prevented him from marrying the woman he loved. By the end of the story, however, readers are left wondering whether or not the reed cutter was actually real. In a way, this ethereal tone that lingers beyond the end of the short story reminds audiences of Kansai's deep relationship with, and embodiment of, the past.

Okinawa

Okinawa is a small chain of islands in the southernmost portion of Japan and has, perhaps, the most distinct regional culture of all the areas we've encountered. The works we studied that took place in this region included: "Turtleback Tombs" and "Bones".

In class, we learned that the region had been affected by a number of influences - China, Japan, and the United States - which led to the formation of a culture that was very different from that of mainland Japan and a question of identity. Originally a "countryside" region, its painful history during World War II and ironic transformation into a resort island sparked a sort of Okinawan rage directed at political issues and the poverty of the people. These sentiments were expressed in "Turtleback Tombs" and "Bones", two short stories that were strong contrasts to the other works we covered. OSHIRO Tatsuhiro and SHIMA Tsuyoshi, respective authors of the short stories, were considerably more politically charged than the other writers/directors that we have been exposed to. In both stories, readers are shown how the Okinawans were victims of the US invasion. Fear and death were commonplace, as evidenced by the retreat to tombs for safety and the mass grave that natives were forced to build. The continuity between the past, present, and future was another topic that was emphasized in these works. In contrast with typical modern thought of putting immense value in the present or immediate future, both "Turtleback Tombs" and "Bones" placed an emphasis on the past. In both stories, there was great reverence for one's ancestors and a desire to help the deceased be at peace. Grandma Ushi seems to be more concerned for the comfort of her husband's deceased relatives than of her own family seeking refuge in the tomb. The old woman from "Bones" lovingly picks through buried remains and scolds the construction workers for even thinking about removing the banyan tree. These reactions to war and capitalism can be interpreted as a manifestation of Okinawa's physical and cultural segregation from the mainland.

Tohoku

The Tohoku region is the northernmost portion of Honshu, Japan's largest island. The works we studied that took place in this region included: Departures, "The Island of Eternal Life", "The Charm", and Swing Girls. It can be viewed as Okinawa's northern counterpart - Tohoku is also a countryside region that does not boast of cultural prestige on the level of Kanto or Kansai. Unlike Okinawans, however, the people of Tohoku are viewed as more weathered individuals, primarily due to the harsh winters that they must endure. Their resilience emerges when we take into consideration the Fukushima Incident, and examine some stories that arose due to that event.

Tohoku's country feel is evident in the two movies that took place in this area. In Departures, Daigo is remembered by the bath house owner (Tsuyako), who welcomes him back as if he had never left. Tsuyako even asks to meet Daigo's wife, then proceeds to tell her about Daigo's past and how to best sympathize with him. Furthermore, Tsuyako's refusal to give up the bath house for a more profitable venture demonstrates the value that she places in community over commercialization - a value that clearly was not upheld in Tokyo, where Daigo's orchestra was disbanded due to low revenue. Financial differences make another appearance in Swing Girls, where we see that the girls struggle to raise enough money to get instruments, whereas getting new equipment was just a matter of placing an order in Ping Pong. The relative destitution of the Tohoku region compared to Kanto motivated the placement of nuclear power plants in places like Fukushima, which gave jobs to locals and provided power to people in more populated areas. The 3.11 earthquake and its aftermath revealed a disconnect between the victims and people from outside Tohoku. "The Charm" follows one woman as she struggles to resolve her feelings as a Tokyo resident wanting to help those who were displaced. In the end, she is able to come to terms with her emotions, but does not actually provide assistance to any of the victims. When taken in conjunction with "The Island of Eternal Life", a story in which no one is really aware of what is happening to those who were affected, "The Charm" shows the disjoint between Tohoku natives and the rest of Japan, while also demonstrating the great resilience of the Tohoku residents.