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Pathetic Beauty: Mono No Aware In Hollywood Cinema –To Family And Friends In These Estranged Times–, Aaron Francis Ward

Japanese Society and Culture

Mono no aware is considered to be one of the central-most Japanese aesthetics and distinctive to Japanese identity (Keene 1995; Miller 2011). This aesthetic standpoint finds wistful beauty in the transient, and is most often translated to ‘beauty in pathos’ or ‘the ah-ness of things’ (Hume 1995), as exemplified in the Heian-era classic, The Tale of Genji (Murasaki 1981). To the outside world, mono no aware is most commonly associated with cherry-blossom viewing, where the short-lived existence of the falling cherry blossom is seen as a metonym for contemplation of the beauty in the transience of life itself. Although this …

Influential Storytelling At Its Finest: Why The Postwar West Took Notice Of Yasujirō Ozu’S Tokyo Story, Abigail Deveney

Japanese Society and Culture

Tokyo Story (1953) came to fame in 1958, when Yasujiro Ozu’s postwar film about a fragmenting family won the Sutherland prize at the London Film Festival – or so cinematic scholarship suggests. There is, however, a much more complex tale to be told. In fact, director Ozu’s shomingeki-genre film was being discussed and promoted internationally long before what is considered that watershed moment.

This dissertation explores why the western world took note. It argues that Tokyo Story’s nuanced and humanist narrative was a unique form of soft power, attracting and persuading decades before that concept was formally articulated. Tokyo Story’s …