The Art of Making Jidaigeki Movies - Movie Review Example

Introduction The jidaigeki also known as “Period films” were Japanese films set up during the Tokugawa or Edo period that ranged between 1603 and 1868 (Kwok & McKnight, 2002, p. 20). The term was used to denote the time when the Japanese community was under the reign of the Tokugawa shogunate and the 300 Daimyo regions of the country. During that period the Japanese economy was distinguished by firm social organizations, economic stability, environmental safety regulations, segregationist international policies and an overwhelming fashionable art and cultural enjoyment (Dennison & Lim, 2006. Other Jidaigeki dates earlier than the Edo period. These films portray the lifestyle of farmers, merchants, warriors, craftsmen, etc. On some occasions, the Jidaigeki films are referred to as chambara movies or the “swordfight” and rely on a notable caucus such as the use of language, plotlines, makeup, slogans, etc. (Kwok & McKnight, 2002, p. 22). This document examines how the outstanding conventions used in the movies relate to the period they were composed rather than the period they contend to represent (the Tokugawa period). Film Analysis Background Most Jidaigekis such as Zenigata Heiji and Abarenbo Shogun aired as progressive television programs show the exploration of people roving from place to another (Kwok & McKnight, 2002, p. 23). Other period films such as Mito Komon are invented narratives to demonstrate the tours of the past daimyo Tokugawa Mitsukuni while Zatoichi films and television programs demonstrate the trekking techniques (Schaefer & Karan, 2012, p. 73). Some Jidaigeki demonstrates the social status of the characters used in films or movies. Narratives Rashomon was a Jidaigeki who acted in the post-second world war in 1950. The film demonstrates the narratives of four witnesses testifying the same episode about the murder of the samurai and rape of his wife by Tajomaru (Schaefer & Karan, 2012, p. 78). However, the four witnesses give the conflicting narratives of a similar encounter a thing that clouds the reality of what led to the death of a samurai and the rape of his wife’s rape. According to Akutagawa (2011), the witnesses include the woodcutter and the priest who relates the occurrences to a commoner. When the woodcutter was called to state in a court of what transpired in the murder of a samurai, he encounters samurai’s wife and the offender Tajomaru who also gives a different version of the occurrence. The situation compels the ghost of Samurai to appear in court and issue yet another different story of what occurred on the day of the murder (Dennison & Lim, 2006) According to the narration of the bandit regarding what led to the murder of the samurai, Tajomaru alleged that he hoaxed samurai to step off the mountain path and see the collection of antique weapons he had found out (Akutagawa, 2011, p. 36). The Tokugawa period the film purported to represent was peaceful in which the shogunate controlled every aspect of life from religion, economy and social aspects. They had centralized the government that regulated taxation, government expenditures and established bureaucracies (Dennison & Lim, 2006). The governance was hereditary and devoid of foreign participation and wars and had created a state judicial system, suppressed disputes, and criticism. As a result, the Edo era was marked with peace and affluence (Schaefer & Karan, 2012, p. 95). The period films focus on demonstrating the encounters during the Edo or Tokugawa period. Traditions and morality Considering the peace that prevailed in Japan during the Edo period it is apparent that Rashomon film emphasized more on what had happened during the world in which the Japanese were much involved (Turim, 2013, p. 198). The collection of weapons that Tajomaru was referring to could be those weapons that were used especially during the Second World War. The bandit further narrated how he tied samurai before bringing samurai’s wife. The wife at first resisted and defended herself with a dagger, but the bandit managed to seduce her and had sex with her. As reiterated by the bandit, the samurai’s wife urged the Tajomaru to swordfight with her husband so that she could cover the shame of being with two men (Schaefer & Karan, 2012). The bandit set samurai free and they engaged in a duel that resulted in the death of the samurai. The use of duel seems inappropriate in a situation where no party conflicted with another though in ancient times duel was considered the means of solving disputes (Dennison & Lim, 2006). According to the version of the narrative presented by samurai’s wife to the court, the bandit tied her husband and raped her before taking to his heels (Schaefer & Karan, 2012). She untied her husband and asked for her forgiveness, but her husband never said anything. It was then "she asked him to kill her and save her from the shame," but her husband gave her a cold stare. The wife became disturbed and painted with a dagger in her hand (Turim, 2013, p. 200). However, when she regained her consciousness, she found her husband dead with the sword planted in her chest. She attempted to commit suicide, but she did not succeed. The contradictions given in the narratives depicting the desolate human vision and frantic swordfight serves as a mockery of samurais ethics (Schaefer & Karan, 2012, p. 121). It serves as an indicator that the traditions and allegiance are forgotten. Therefore, the film depicts the period in which it was acted as the past things are completely forgotten. Use of weapons The use of swords in Rashomon in the 1950s instead of guns was somehow especially given that the Japanese had taken part in the world war thus could use more complex weapons (Kwok & McKnight, 2002, p. 24). However, the intention could have been to imitate Japanese traditions. The dagger used by Tajomaru in the murder of the samurai was somewhat more complex compared to ordinary daggers, and that may show a change in technology over time (Akutagawa, 2011, p. 54). Therefore, the use of modern dagger was an indication of changing times in Japanese culture that could represent the period after the world war. Culture In Japanese culture, the use of chambara demonstrates the duty and honor for experienced swordsmen to settle issues through a duel. In Rashomon film, the producer highlights the two characters Tajomaru and samurai engaged in a duel although it occurred after the request by the wife to conceal the shame of being in an affair with two men (Kwok & McKnight, 2002, p. 24). The producer demonstrated the Japanese culture as it was during the Edo period, but the setting does not resemble the situation as it was in real life. Probably samurai was not aware of the conflicts and did not seem to take any defense according to the narratives. The use of chambara in Rashomon was intended to demonstrate the authoritative regime if the shogunate who could not take any criticism kindly (Akutagawa, 2011, p. 67). Chambara was used in defense of family, relationships, and betrayal. It was about rescuing companions from harm, protecting precious deliverables and absconding of the secret base. The time in which the film was developed had a cultural influence (Schaefer & Karan, 2012). In the Rashomon Tajomaru decision to murder, samurai could have been instigated by lust for samurai’s wife. It shows the extent to which men can go to receive whatever they want irrespective of the means they use to acquire it. It portrayed women as objects to be owned without free will. The samurai’s wife was fighting to defend her morality (Turim, 2013, p. 203). After she had been raped by the bandit, she begged for forgiveness from her husband. However, when her husband continued giving her cold look she felt ashamed. She requested the bandit to duel with her bandit to cover the shame of having an affair with two men (Turim, 2013, p. 201). The episode was an indication that she was reacting to the prevailing conditions and not about past encounters. Style and settings In the plot and theme of the film, the producer has used numerous flashbacks and narratives to demonstrate the content of Rashomon. Superficially the play demonstrates the crime of murder of a samurai and the trial of the bandit (Akutagawa, 2011). At the onset of the film, woodcutter, priest and the commoner are engaged in a conversation where they use flashback to narrate the terrible encounters of samurai and his wife that took place in the forest (Turim, 2013, p. 198). However, the two witnesses face challenges because they are unable to recall the exact story as they both give contradictory encounters. Even after samurai and his wife appear to give testimony in the court they both come up with varying stories (Akutagawa, 2011, p. 75). The use of flashbacks in the Rashomon film depicts the inability to recall things the way they happened. The descriptions of the four witnesses did not have"disposition, facial expression, accomplishment and identity of the offender" (Dennison & Lim, 2006, p. 178). Therefore, the use of flashback and conflicting narratives of the murder and rape witness is an implication that the period films represent the time they were made rather than the Edo period. The characters can relate to the issues occurring in the time of performance rather than things that happened sometimes back. The story of murder is Rashomon film has a philosophical connotation besides the superficial expression. The episode was used to examine the state of the human mind as the contradictions in the four stories. The contradiction is an expression that human personality determines the extent to which the fact is disclosed about past occurrences (Kwok & McKnight, 2002, p. 26). There is no means to determine who was telling the truth among the narrators, and there is a high chance that the four of them did not tell the truth. They probably believed in what they were saying and had no intention of concealing the truth, but all the narratives could not corroborate because the human memory is influenced by their encounters in the day-to-day lives (Dennison & Lim, 2006). The human ego distorts facts and perceptions. For example, each of the characters gives the story of the encounter bent on satisfying personal interests. The bandit develops an impression that he is a brave warrior for defeating samurai in the swordsmen contest (Dennison & Lim, 2006, p.179). On the other hand, the commoner defends himself after stealing kimono from the baby and justifies his conduct by reminding the woodcutter that he took the expensive dagger used to murder samurai (Turim, 2013). The commoner reiterates that human beings cannot avoid lying and sometimes they even cheat themselves. Therefore, from the contradiction of those narratives and the fact that the characters admit cheating is ordinary to human beings, it is evident that the period films relate more to the time they were developed. The actors cannot refrain from expressing their emotions, and they act to satisfy personal ambitions (Dennison & Lim, 2006, p.178). Production and editing techniques The producer applied techniques that depicted varying importance attached to each character from the way he used the camera. The use of flashbacks compelled cinematographers to use slight shots to portray reality about each character (Dennison & Lim, 2006, p.177). That was demonstrated in the tilting of the camera, shifting it from different angles, changing the period of the shot and the positioning of the image. For example, the taking of bandit’s images included many activities, movements, quick cuts, etc. while for samurai and his wife the shots were a bit longer and involved the methodical movement of the camera (Dennison & Lim, 2006, p.178). Furthermore, the movement of the camera illustrated various features of the flashbacks. For example, the shots of the sun through trees demonstrate the scenery that can disclose the reality. Therefore, it is natural that human beings cannot represent past events or occurrences, but they can do only what they are to at the particular time of developing the film. The opening of the setting at the ramshackle Rashomon gate gives an expression of the wreckage and distressing events caused by the world war. The characters in the play have transformed such that Tajomaru is presented as humble Japanese and be likened with a reincarnation of ogre or oni used in the Japanese legends, and he represents aliens (Akutagawa, 2011). The raping of a morally upright Japanese woman (samurai’s wife) by Tajomaru represents the invasion of Japanese by the foreigners. However, the woodcutter’s approach to saving the baby portrays some hope for the future of Japanese. Despite the desolate nature of the nation following the invasion by foreigners and all damages they caused through bombings there was still some hope for the since the former things will be forgotten (Dennison & Lim, 2006, p. 182). Therefore, the period films though intended to portray Edo the setting, styles, and characters demonstrate the issue of the settings instead of the Edo period they purport to depict. Conclusion Jidaigeki is purposed to represent the Tokugawa period in which the Japanese enjoyed an era of tranquility and prosperity without the pressure from aliens. They are characteristic by the expansion of economic, social and cultural practices. However, the facts presented in the film such as Rashomon depict much about what transpired during and after the world war and the sufferings the Japanese went through in the hands of foreigners. They portray moral attrition and occupational change as the strong Japanese traditions were deduced by a foreign culture. Bibliography Akutagawa, R. 2011. Rashomon and Other Stories. Tuttle Publishing. Pp. 1-128 Dennison, S. & Lim, S. H. (Eds) 2006. Remapping the World Cinema: Identity, Culture and Politics in Film. Wallflower Press, Great Britain. Pp. 177-182. Kwok, J. & McKnight, L. 2002. Film Asia: A New Perspectives on Film for English. Curriculum Press. Pp. 20-27. Schaefer & Karan, 2012. Bollywood and Globalization: The Global Power of Popular Hindi Cinema. Routledge, USA. Pp. 61-183. Turim, M. 2013. Flashbacks in Film: Memory & History: Routledge. Pp. 197-205. Read More