elements that piece this metaphor together are the original situation leading to the death of Motome Chijiiwa, the final fight between House Iyi and Tsugumo Hanshiro, and the end of Tsugumo Hanshiro in conjunction with the conclusion. The director, Masaki Kobayashi, has also inserted minute elements that give this argument a slightly more solid backbone. Chijiiwa is of the warrior class, educated, and desperate for survival. He serves as a guardian in a time when no guardians are actually needed. He is
Only in the ending of the film are shown another frame shot towards the sky or the outside of the compound. During this portion of the film Kobayashi gives us visual hints that not only confirm the presence of restriction, but its particular quantity and qualities in a given scene or portion of the plot. An example for instance, in his first meeting with the flight attendent of the clan leader
9. Cruel Story of Youth (Nagisa Osima, 1960) Nagisa Oshima’s second feature film is a prime example of the Japanese New Wave, as it focuses on adolescent delinquency, the sexual revolution, and the failures of the post-war generation. Furthermore, it was his first commercial success and the one that introduced him to the rest of the world. Makoto, a high school student has the habit, along with her friends, to ask for car rides from middle-aged men. During one of those, a lecherous individual tries
The Golden Age of Japanese cinema was the product of postwar Allied occupation, a classical vertically integrated studio system, technical innovations in cinematography, and ingenious directors, set against a backdrop of 1950s political and cultural realignment. Following the unprecedented destruction of the cities of Hiroshima and Nagasaki, and the surrender of the Empire of Japan to Allied forces in September, 1945, the Japanese government came under control of Allied Occupation Forces from 1945-52