The Floating World: Representations of Japan in Lost in Translation and demonlover

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Bibliographische Detailangaben
Beteiligte: Veen, Anita Schillhorn van
In: Asian Cinema, 17, 2006, 1, S. 190-193
veröffentlicht:
Intellect
Medientyp: Artikel, E-Artikel

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Umfang: 190-193
ISSN: 1059-440X
2049-6710
DOI: 10.1386/ac.17.1.190_1
veröffentlicht in: Asian Cinema
Sprache: Englisch
Schlagwörter:
Kollektion: Intellect (CrossRef)
Inhaltsangabe

<jats:p>In Japan during the Edo period (1603-1868), the shogunate heaped together all things immoral -- gambling, theater, prostitution, bars – into districts separate from the rest of the city in an attempt to both provide and control licentious activities. These areas came to be known collectively as the “floating world,” a heady terrain of sex and art, an island of hedonism in a balancing act with strict patriarchal morality and social code. Tokyo’s district, called Yoshiwara, or “happy fields,” was the most famous. In Lost in Translation and demonlover , Tokyo is depicted as a floating world in the here and now, a contemporary mecca of fleeting pleasures disconnected from the West’s heavy-handed morality, from meaningful relationships, from Christian guilt.</jats:p>