Beteiligte: | |
---|---|
In: | Asian Cinema, 18, 2007, 2, S. 243-251 |
veröffentlicht: |
Intellect
|
Medientyp: | Artikel, E-Artikel |
Umfang: | 243-251 |
---|---|
ISSN: |
1059-440X
2049-6710 |
DOI: | 10.1386/ac.18.2.243_1 |
veröffentlicht in: | Asian Cinema |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | Intellect (CrossRef) |
<jats:p>The enormously popular It’s Tough Being A Man films iconized the search for a lost Japan and self-discovery through travel. Beloved by Japanese, the films played twice a year until the death of the hero, Tora-san. Cleverly manipulating the age-old conflict between giri (duty) and ninjo (feelings), the films capitalized on the popular furusato (hometown) boom and the modern “westernized” Japanese attempt to recuperate a vanishing tradition. Was the Japanese culture portrayed symptomatic of “invented tradition?” What did the interplay between travel and self-identity, periphery versus center, and madonna (beautiful, young woman) and travel signify?</jats:p> |