Locality in Makoto Shinkai's Kimi No Na Wa

Home , Makoto Shinkai, Your Name

IZUMI, Volume 10 No 1, 2021, [Page | 21] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi

Research Article Locality in Makoto Shinkai’s Kimi no Na wa: Negotiating Japanese Youth Identity

Muammar Kadafi*, Shofi Mahmudah Budi Utami

Universitas Jenderal Soedirman, Purwokerto-Jawa Tengah 53122, Indonesia

*Email: [email protected]

Received: November 20th, 2021; Revised: April 22nd, 2021; Accepted: April 24th, 2021 Available online: April 24th, 2021; Published regularly: June 2021

Abstract

Japan becomes one of the countries that has been producing worldwide popular culture, namely through anime. Besides its popularity which attracts wider audiences, anime cultivates cultural content as it is also found in popular anime entitled “Kimi no Na wa”. Aside from its popular culture, Japan has undoubtedly been known for its ‘high culture’ products such as haiku or Zen, to which Japanese identity is attached. Then, the content of Japanese locality performed in the anime highlights some crucial issues related to Japanese identity, including the problematic relationship between traditionality and modernity, generations, and genders. Thus, the local content in the anime is interesting to scrutinize how traditional values are depicted and negotiated concerning Japanese identity. Since this study is descriptive-qualitative research, it answers the problem by describing the phenomenon and employing the interpretative method by Hall’s concept of identity. The selected data related to locality and identity obtained from the movie and poster are grouped and approached by Hall’s semiotic representation to see the relation to its significations. Finally, this brings out the interpretation of the data indicating that the anime portrays the ‘return’ to local culture. It is referred to as ‘nihonjinron’, which is particularly emphasized in youth life. Through this film, the identity is negotiated. The characters (Taki and Mitsuha) perform post-modern subjects; a case in point accepts the changes as they develop their identity in the current era.

Keywords: anime; identity; locality; Makoto Shinkai

How to cite (APA): Kadafi, M., & Utami, S. M. B. (2021). Locality in Makoto Shinkai’s Kimi no Na wa: Negotiating Japanese Youth Identity. IZUMI, 10(1), 21–31. https://doi.org/https://doi.org/10.14710/izumi.10.1.21-31

Permalink/DOI: https://doi.org/10.14710/izumi.10.1.21-31

1. Introduction culture on the global community. One of In the last two decades, Japanese the Japanese pop culture products which pop culture has been heavily produced and have spearheaded Japanese pop culture is is increasingly accepted by the global anime or Japanese animation. The community. As globalization occurs, circulation of Japanese pop culture has not national borders cannot hold back the only reached out public sphere like coming of foreign products in which consumption of foreign products, but it has cultural representation is embedded. It has been spreading even into the domestic area affected those who consume pop culture through its “ideology and image in these products to keep consuming them. This products” (McKevitt, 2010, pp. 894–895). situation shows that there has been a In Asia, after the post-war period, significant influence of Japanese pop Japanese popular culture has been the

IZUMI, Volume 10 No 1, 2021, [Page | 22] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi spotlight. The phenomenon of Japanese anime is also a global phenomenon at the popular culture globally in Asia became level of commercial power and cultural ‘cultural imperialism’ (Allen & Sakamoto, power (Napier, 2001). In cultural power, 2007). Historians have observed it anime becomes a differentiator from because, since the fall of Japan in World western pop culture products that seem to War II, it has become essential for Japan to be formulaic. In contrast, Japanese pop build its own identity. Namely by culture emphasizes resistance to this presenting a “Japanese Spirit”, an image of hegemonic globalism (its uniformity); Japan that is different from any other therefore, anime presents Japanese roots or country; or often referred to Nihonjinron or cultural values while still influencing Japaneseness, which is a term that global consumers (Napier, 2001). describes the uniqueness of Japan both of Then, what can be further its cultural and social character (Tominaga, scrutinized is whether anime is a form of 2002). Nihonjinron means a theory about culture categorized as “high culture” or Japanese society. This word is used to refer “mass culture”. It is challenging to to writings that brought issues on the subsume pop culture products in the uniqueness of Japanese culture, “A central category to come up with this point. premise of nihonjinron is that the Japanese According to Napier’s opinion, anime can are a homogeneous people ( 単一民族 ; be categorized as Japanese pop culture when the cultural product represents the tan’itsu minzoku) who constitute a racially current state of Japan and how the product unified nation (単一民族国家; tan’itsu is massively produced (Napier, 2001). minzoku kokka)” (Burgess, 2007). As a However, categorizing anime as pop form of cultural diplomacy to other culture is not merely based on how the countries, especially in Asia, this cultural product meets the targeted market Nihonjinron then forms a perception that or society’s demand. To some extent, pop “Japan is cool” or anything related to culture becomes a link between various Japan is cool and interesting. This cultural ‘forces’ and cultural influences; between phenomenon becomes increasingly popular local and global, domestic and foreign, attracts both national and international inside and outside, and hybridization and audiences. The impact of this phenomenon indigenization (Allen & Sakamoto, 2007). is the increasing number of products made Anime displays a contestation of these by Japan for global consumption, and this complexities. However, the cultural values consumption of Japanese products has performed through anime are authentic expanded so that they are progressively cultural forms that, according to Napier, produced. This popular culture ultimately are recategorized as ‘high cultural makes Japan has its own uniqueness in pop traditions’ (Napier, 2000, p. 4). This culture products including anime. argument is asserted because anime raised The emergence of anime as a pop- traditional Japanese arts such as Kabuki culture product is still considered a debate and woodblock print, which influenced the in a scientific study of culture. Some argue global community. Even anime is equated that anime is a sociological phenomenon; with haiku, Zen, and martial arts as it was others call it a form of art; but most first released to other countries such as importantly, anime is understood as a form Korea, Taiwan and Southeast Asia in 1990. to see the representation of Japanese One of the most likely factors to society today (Napier, 2001). All of these make it consumed globally is because opinions locate anime in a cultural context. anime has a wide range of genres. It is no Apart from being a form of cultural longer defined as children’s cartoons like product, according to Napier’s opinion, Doraemon, but it takes all the film genres,

IZUMI, Volume 10 No 1, 2021, [Page | 23] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi which are also the basis of the Hollywood chewing’ can only be done by miko or film genre, ranging from romance to Sci-fi, virgins (shrine maiden), Ashcraft argues from children’s stories to adult stories (sex otherwise that this used to be done by men and violence). Although anime stands for as well, not only restricted to only virgins ‘animation’, it refers explicitly to Japanese (Ashcraft, 2020). Above all, the movie cartoons or animated films made in Japan. performs ‘Japaneseness’ from which the It has no definite formula and presents global audience can find a representation different complexities in its stories. In of Japanese culture. Kimi no Na wa, which is targeted for That the movie depicts such appropriately teenagers or adults, shows cultural value seems to assert its locality the story’s complexities and identity. content. Thus, how the traditional values According to MacWilliams, traditional are contested in the anime signify a influence also marks the making of anime relational meaning to the Japanese identity. (MacWilliams, 2008), depicting festivals It needs to be further investigated because that could be associated with Japanese locality contributes to the formation of culture. Besides, the Japaneseness or identity in the current context where, nihonjinron presented in the anime can be according to Hall, “the local” and the identified as the identity of Japanese impact of “the global” are concurrent people (MacWilliams, 2008). The presence (Hall, 1996). Previous research on Kimi no of the discourse on Japanese identity Na wa focused on the structure of the story, begins when the subject deals with ‘other’. such as the understanding of the narrative In the contextualized Japan, it was marked that performs the urgency of ‘healing’ the by the arrival of Matthew C. Perry, who national trauma caused by the triple opened Japan’s isolation to interact with disaster in 2011 (Thelen, 2019) or the other countries on July 8, 1853 (D. Fitria, understanding of the narrative in order to 2010). At this point, it marked a significant find out the relationship of characterization matter on perceiving Japanese identity. in the movie (Kusumawesti, 2017). This To further scrutinize the Japanese study is significantly central to the issue identity, cultural content performed in the rather than its structure by observing the anime is also considered. Since the discourse on identity. Therefore, this study material subjects raised in the anime insert aims to configure identity (with its particularly Japanese cultural content, the importance to return to local culture) locality or local values can be seen through performed by the interchangeable images or narrative. As shown in the anime characters and how it is contextualized in entitled Kimi no Na wa, it elevates the post-modern era like nowadays. traditional Japanese values such as Kuchikamizake. This tradition of making sake is produced through the depiction of 2. Methods the ritual held in the shrine. This traditional This research employs a descriptive- sake becomes one of the earliest forms of qualitative method. The descriptive alcoholic beverage in Japan (Ashcraft, method is employed to describe 2020). Sake uses mold saliva or human phenomena or characteristics (Nassaji, saliva (as it means ‘mouth-chewed sake’ 2015). In particular, this study describes a which is derived from kanji 「口」 phenomenon depicted through a story in meaning ‘mouth’,「神」meaning ‘God’, the anime, Kimi no Na wa, namely about the return to locality or local values. It is and 「酒」meaning ‘liquor) in order to thus described based on the narrative break down the rice starch into sugar as a structure and audio-visual in the anime. starter to fermentation. Although the movie Then, the qualitative method is employed seems to construe that the process of ‘rice-

IZUMI, Volume 10 No 1, 2021, [Page | 24] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi to elaborate on how all of these depictions “The fully unified, completed, secure, of the “return to local” configure relational and coherent identity is a fantasy. meanings in analyzing the construction of Instead, as the systems of meaning and Japanese identity. These data related to cultural representation multiply, we are locality and identity were obtained from confronting by a bewildering, fleeting the movie and poster, including the audio- multiplicity of possible identities, any visual, including the captures and quotes one of which we could identify with— from the dialogues between the characters at least temporarily.” (Hall, 1996, p. in Kimi no Na wa. Based on these selected 598) data, the analysis can be drawn using Hall’s concept of identity, which states that Identification of the subject towards this there are three stages in viewing identity. It identity refers to cultural identity, which focuses on how the subject or individual is produces a fluid identity, open to various constructed; or how it (through various possibilities—“open-ended”. Cultural forces) attached to the identity. identity is then constructed through how According to Hall, identity is the self is represented in the cultural associated with the capacity, awareness, system (Hall, 1987 in Hall, 1996). This and actions that form the inner core of the subject is referred to as a post-modern subject as they emerge from birth; this is subject, namely, a subject with unstable or understood as a unified individual whose non-fixed identity (fluid identity). Based on inner core has been inherent to the self this theoretical concept, the data were then (Hall, 1996). This wholeness identity or interpreted to determine whether the return so-called personal identity (Hall’s term is to a locality in bridges the formation of a enlightenment subject) refers directly to post-modern subject or a so-called fluid the self. The attributes attached to the self identity (in this anime) performed by bring it into existence. Secondly, the Mitsuha Taki). subject reflects the complexity that occurs Besides, the analysis also uses in the modern world. The interaction with pictures in the movie poster. At this step, a society influences the presence of this semiotic approach is employed to see the complexity. What later happens is the forms of representation related to identity. interaction between self and the society — Hall divides three approaches to signify where culture grows and exists (Hall, meanings from this representation, namely 1996, pp. 597–8). Interaction with the reflective, intentional, and constructionist outside world contributes to the formation (Hall, 1997, pp. 24–25). Hall divides three of the subject’s identity. Thus, Hall offers approaches to signify meanings from this mediation between the subject and culture representation, namely reflective, (which includes values, meanings, and intentional, and constructionist. Reflective symbols). In this stage, the “self” is formed representation leads to configure meanings and transformed by representation in the based on “reflections of the objects” or subject’s cultural systems. The fulfilment events in the real world. Intentional of personal identity then becomes representation brings out meaning on the insufficient because it keeps shifting emphasis by the speaker or writer through according to where the subject lives or is the language they use. Meanwhile, positioned (Fitria, 2019). This sociological constructionist representation relates the subject is a concept to see this shifting— meaning to the aspects of the sociological that the identity of the subject is unstable characters or symbols existing in the and keeps interacting with the cultural society—here, the subject is no longer seen world. as a sole-fulfilled individual or as a post- modern subject.

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3. Result and Discussion books, smartphones, or even skin. Until 3.1 Narrative Structure then, the communication was cut off. At this point, conflict in the story rises. It was when a comet destroyed Itomori on October 4, 2013. Taki tried to find information about Mitsuha and Itomori, which were devastated by the comet based on his memories when they swapped bodies. Until then, Taki realized that there was a three-year difference between him and Mitsuha. So, Taki decided to go on a journey to find it out. He finally arrived at Mitsuha’s sake, at an ancient shrine that sits on a mountain top. By drinking the

Figure 1. The movie poster of Kimi no Na wa. sake, Taki re-entered Mitsuha’s body in the past and made an effort to evacuate the Kimi no Na wa tells a relationship villagers before the comet crashed Itomori. between two main characters, Taki and At the end of the story, Taki managed to Mitsuha. These two characters are in save the villagers. However, his memories different backgrounds. Taki is a high become blurred about Mitsuha. It was not school student in an urban area, namely clear then whether the two were in a Tokyo, set in around 2016. As most urban relationship or not. Nonetheless, their teenagers generally do, Taki lives in an meeting back on the stairs in one corner of apartment, rides local trains, and works a Tokyo indicates a happy ending for the part-time job. Meanwhile, Mitsuha is a main characters in this movie. high school student in a rural area called The exciting thing is that the Itomori in around 2013. Even though rural narrative structure of this movie is well areas are primarily associated with rivers, represented through the movie poster rice fields, mountains, trees, it does not (figure 1). Reflective representation correlate with Mitsuha’s family condition presents essential elements, including the since her family background is relatively setting and the characters framed in the well-off. His father is the administrative attractive and easily followed narrative. head of the town. Mitsuha and her sister The presence of two young characters live with her grandmother, who is in wearing school uniforms on the left and charge of the local shrine. Mitsuha and her right side of the picture emphasizes their sister are involved in rituals held at the social background (as teenagers). On the shrine, including making sake to be left side, behind the male character, a presented to Gods. picture of buildings in the city represents In the story, these two characters, urban life. On the other hand, the Taki and Mitsuha, alternately experience a background of the female character so-called ‘body swap’ each day. Both of represents a rural sphere with trees and them initially thought that it was a vivid hills in green colours. dream, but slowly each of these characters Another representation is called eventually realized that it was not a dream. intentional representation, which can be They got to know it because of stories seen from the gesture of the two shared by people surrounding them. Later characters. Their bodies are facing the on, they communicated with each other opposite sides, away from their sides. (when the body swaps) by leaving notes on Although the gazes did not meet each

IZUMI, Volume 10 No 1, 2021, [Page | 26] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi other, their heads inclined backwards as if Mitsuha, Yotsuha, Musubi tte they are looking at each other. Body shittoruka. gestures of the two characters have an Musubi? intentional representation of the conflict in Tochi no ujigamisama tonna. Furui the story, which is about a different way of kotoba de musubitte yobunyasa. Kono kotoba niwa fukai imi ga aru. Ito o life (despite their similar desire to unite or tsunageru koto mo musubi. Hito o to meet each other again). tsunageru koto mo musubi. Jikan ga The enigmatic element on the poster nagareru koto mo musubi. Senbu is indicated by the light beam in the centre kamisama no chikara yo. Washira no of the movie poster. This light seems to tsukuru kumihimo mosusukara, divide these two settings from each of the kamisama no waza. Jikan no characters as if it separates their worlds. nagaresono mono, arahashitoru. Yori However, at this point, the light makes atsumatte katachi o tsukuri...neji irete these two turn their heads, which, karamatte, toki ni modotte iremata somehow, can be interpreted that this light tsunagari. Sore ga musubi. Sore ga is a constructionist representation as it jikan. (Shinkai, 2016, 00:34:20) gives a riddle to understand what it might Mitsuha, Yotsuha, do you know about signify throughout the story. ‘musubi’? Musubi? a. Juxtapositions in Kimi no Na wa The guardian Gods of this area used to As shown in Figure 1, the film’s be called ‘Musubi’. This word has a cover depicts the binary opposition of deep meaning. The weaving of yarn is these two characters. Taki is a boy from also ‘musubi’. Connecting with other the city in the future. In contrast, Mitsuha people is also “musubi”. The flowing is a girl from a small town in the past. Taki time is also ‘musubi’. All of that is and Mitsuha represent the binary divine power. So, the threads we make opposition such as boy-girl, future-past, are the art of Gods and represent that time keeps flowing. They are stick city-village, modern-ancient. The binary together, spin, entangle each other, relation expressed in the narrative indicates sometimes unravel, break down, and a fluid boundary in this juxtaposition. In then connect again. That is ‘musubi’. the following dialogue, Mitsuha’s That is time. (Shinkai, 2016, 00:34:20) grandmother explained further about this relationship as follows: Musubi means “knot” (Matsuura, 1994, p. 三葉、ヨツハ、結びって知っとるか 678). In Shinto teachings, musubi always 。 means ‘connection’ or ‘relation’ 結び。 (Hardacre, 2017); in other words, musubi 土地の氏神さまとはな。古い言葉で is associated with an associated idea of a 結びって呼ぶんやさ。この言葉には harmonious connection between divine 深い意味がある。糸を繋げる事も結 spirits within humanity. It is further び。人を繋げる事も結び。時間が流 explained that musubi can also mean “the れる事も結び。全部神様の力や。わ action of causing things to be born and しらの作る組紐もすすから、神様の grow, the creation of life and power, the 技。時間の流れその物、あらはしと formation of value, causing mature and る。より集まって形を作り・・・ネ develop” (Hardacre, 2017, p. 43). In this ジ入れて絡まって、時には戻ってと film, musubi is represented by the woven いれまた繋がり。それが結び。それ thread that Mitsuha wore as a hairband; が時間。(Shinkai, 2016, 00:34:20) and as it happened to Taki, in a different dimension of time, also wore it as a bracelet. This bracelet connects both of

IZUMI, Volume 10 No 1, 2021, [Page | 27] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi them through body swaps, which, in this Such subtle matter that ‘grandmother’ here sense, is beyond the boundaries of male- considerably depicts a character who owns female, future-past, city-village, modern- mastery of tradition and spirituality to ancient urban-rural, modern-ancient, and grasp this very meaning. Most importantly, so on. For non-Japanese viewers or those this is the key to answering the enigma to who do not know the concept of musubi, it which the two characters are connected; will be difficult to grasp this idea’s namely the weaving of threads that connect connectedness with the logic of the each other and the spirituality that makes storyline. The concept of musubi is the meeting between the two happen are deliberately emphasized in the movie represented in ‘musubi’. because it somehow explains the Other binaries such as urban-rural, relationship between Taki and Mitsuha in modern-ancient are portrayed as they are in different times and spaces. Therefore, this the film, which is inherently adhered in the concept of musubi draws a plausible lives of each character. In this sense, the connection between these individuals binary opposition relation is still formed beyond their differences; this is how the hierarchically. The story depicts the city, story then makes sense. which is hierarchically positioned higher The relationship between these two than the village-based upon demarcating characters is also essential to observe as a modernity and traditionality. It is shown by representation. The male body or Taki’s the reaction of Mitsuha’s admiration when and the female body or Mitsuha’s are a Taki’s body is enjoying cakes and coffee at place for different souls, yet this does not one of the cafes in Tokyo. The reaction of limit their interaction with the people Mitsuha’s admiration is none other than surrounding them. In the beginning, they borrowing the stereotype of ‘villagers’ were confused by an inexplicable who are commonly represented with the occurrence they experienced, which image of ‘backward people’ constructed in amazed the change of behaviour and popular media. This stereotype can also be attitude. Over time, they can adapt and be seen from the act of Mitsuha’s friend who accepted by the surrounding people. At saw the ritual of making kuchikamizake this point, gender and gender boundaries with disgust and humiliation, as seen in attempt to be reconstructed as fluid or figure 2. without boundaries. Likewise, with time, between the 世界最古の酒なんやて。 future and the past are blurred; the body 米を噛んで吐出して放置しとくだけ swap of Taki and Mitsuha denotes a not- で・・・ fixed boundary between times. At the 自然発酵してアルコールになるんや beginning of the story, “the past” where さ。 Mitsuha lived simultaneously took place 口噛み酒。 with “the future” where Taki lived his life. 神様嬉しいんかなぁ、あんな酒もら The exchange of their souls every day is って。 repeated continuously. However, this does そら、嬉しいやろ。 not influence each other. Otherwise, the ほれ見てみ。宮水や。 ‘knot’ signifies the connectedness of these うわっ、私絶対無理！ two characters beyond the boundaries. This よく人前でやりよるよな。 connectedness leads to the understanding 信じられんわ。 of traditional spirituality that God or kami お姉ちゃん元気だしないよ exists. The grandmother character explains いいにん、学校の人に見られたくら this as musubi. It is quite relational to see い。 the significance of grandmother’s character.

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思春期前のお子様は気楽でええよね。 to this humiliation as she left the shrine そうや！いっそ口噛み酒をたくさん with a shameful face after the ritual was 作ってさ、 carried out. 東京行きの資金にしたら？ This scene indicates a reflective あんたって、凄い発想するな representation of the adolescents that they (Shinkai, 2016, 00:15:33) are no longer familiar with traditions or anything related to traditionality. This Sekai saiko no sakenan yate. ignorance leads to their action in giving kome o kande toshutsu shite houchi shi less respect or even humiliation (seen from toku dake de.. the captures and the dialogue), such as the shizen hakkou shite arukouru ni narun sneer of Mitsuha’s schoolmate when they ya sa. Kuchikamisake. saw Mitsuha as the “miko” presenting Kamisama ureshiin ka naa, anna sake ritual in the shrine to make kuchikamizake. moratte. The act of humiliation exemplified in this Sora, ureshiiyaro. Hore mite mi. Miyamizu ya. scene is drawn by ignorance towards the Uwaa’, watashi zettai muri! Yoku symbolization of this ritual. In the hitomae de yari yoru yo na. Shinji raren narrative, it appears that there is an attempt wa. to reverse the hierarchy (of binary O neechan genkida shinai yo oppositions) by reinforcing local values ii nin, gakkou no hito ni mi rareta kurai. through kuchikamizake. Taki has an Shishunki mae no okosama wa kirakude opportunity to turn back the time and save ee yo ne. the villagers. These local values (Shinkai, 2016, 00:15:33) represented by kuchikamizake signify crucial meaning in bringing the youth life Katsuhiko: It is the oldest sake in the back into their roots in modernization and world. By chewing the rice and brought globalization. them out of the mouth again, then just let it be ... with natural fermentation, it then becomes alcohol. Kuchikamizake. 3.3 Nihonjinron and Japanese identity Sayaka: Would Gods be pleased to be Unlike, the fluidity of male-female served sake in such a way? relations and the blurred future-past, which Katsuhiko: seems delighted. seem to counter common stereotypes, the Schoolmate: Hey, look, it is Miyamizu, urban-rural and modern-ancient right? oppositions remain to be performed as it is. Schoolmate: I definitely wouldn’t do The reversals of hierarchy, such as the that. Especially in front of many people. ‘village’ associated with its traditionality I can’t believe it. and the ‘city’ associated with its modernity, Hitoha: It seems like you’re sick, right? are interpreted in the second layer. It can Mitsuha: I’m fine. I saw my school friends also there. How nice it would be be traced by asking questions related to the if I could be as relaxed as a kid like you. existing conflicts in the narrative. The (Shinkai, 2016, 00:15:33) conflict in the story developed when Taki and Mitsuha’s communication was cut off Figure 2 and the dialogue depict that the due to the comet disaster, and later on, it people surrounding Mitsuha, even her could be resolved with Mitsuha’s schoolmates, lack respect for the kuchikamizake. Taki, who drank the sake, kuchikamizake tradition. Its further was then able to return to Mitsuha’s body emphasizes a sort of humiliation regardless to arrange a plan to save the villagers. In of their background that they came from this movie, a plot was created to answer the same village and held relatively the this conflict. However, clues to the answer same traditional values. Mitsuha responded have appeared at the beginning of the story.

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The consistency of the narrative in starts to shift. When the sociological the form of fluidity, blurring, and reversing identity of Taki as an urban youth interacts the binary opposition hierarchy indicates with traditionality in Mitsuha’s world, it that the signification of meaning becomes begins to expose to the force of Taki’s an attempt to negotiate the discourse on post-modern identity; and it keeps Japanese identity or nihonjinron「日本人 changing when he then returns to his real 論」. Nihonjinron can be categorized as a world. So do Mitsuha’s identity when she sociological subject where the subject begins to interact with the outside world interacts with the existing culture. First, it hers. It, later on, allows her to learn and is depicted by the character named Taki as adapt to the urban society. an individual who interacts with the culture Furthermore, this is also reinforced surrounding him and existing in the by the blurred boundary between the future modern world. This can be traced from the and the past. Most importantly, the future, stereotypes of Japanese people most likely which has changed since Taki returned to portrayed in urban youth with homogenous the past and evacuated the villagers, images of being busy studying while emphasizes a deferral meaning about the working part-time jobs. Secondly, the names that disappear from each other’s character by Mitsuha performs a memories. Based on this context, ‘names’ stereotypical rural youth who is probably become a symbolic order or a distant from tradition, but somehow, they representation of the subject’s identity by are still connected to their roots and the presence of others. In the story, the traditionality. connectedness of the subject deferred The identity’s negotiations are again; instability of the subject conveyed indicated by Taki’s effort to return to the through the return of the subject to present shrine at the top of the mountain to repeat time in one synchronized body and soul. the past and change the written history. In However, this return brings emptiness to this context, Japanese modernity seems to their present life. As seen in the quote, that be pulled back to the youth’s life to revive fact signifies Taki’s flow of consciousness, Japanese teenagers’ traditions. It can also and his dialogue with Mitsuha at the end of be interpreted that today’s Japanese the film, as follows: teenagers have forgotten a lot about their 今はもうない町の風景に、何故これ traditions. In this sense, it also can be ほど、心を絞めつけられるのだろう understood as the nowadays-Japanese 。ずっと、誰かを。-誰かを、探し teenagers. They are in the stage of ‘post- ていた。 modern subject’ where their sociological あの？ identity keeps shifting (based on the 俺、君をどこかで・・・ cultural interaction they are exposed to). 私も。 Accordingly, as mentioned earlier, 君の名前は？ the subject includes Taki and Mitsuha that, (Shinkai, 2016, 01:40:28) in this sense, it indicates a fluid identity; or based on Hall’s identity categorization, it Ima wa mou nai machi no fuukei ni,naze is a post-modern subject. In this state of korehodo, kokoro o shimetsukerareruno instability, the identity is formed and darou. Zutto, dareka o. –dareka o, transformed by the changes surrounding sagashiteita. Ano? both characters, culture, and worldview. Ore, boku wa dokoka de... The body-swap that exchanges souls Atashi mo. allows the alternation between the boy and Kimi no namae wa? girl, and through these experiences, the (Shinkai, 2016, 01:40:28) sociological identity of Mitsuha and Taki

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It’s no longer in the corner of the city, name’. Interestingly, from this signifier, it’s been so far, this heart is choked. the movie does not provide an answer to Who is she, who is she that I always that name. In this sense, the emptiness of keep looking for. Taki’s feelings and his search for names Excuse me? can be interpreted as openness to Me, I don’t know where you are ..... possibilities which Japanese teenagers Yes me too. What is your name? answer by themselves. In the current era (Shinkai, 2016, 01:40:28) nowadays, with technological entertainment, this movie emphasizes the At this point, the name is essential because importance of traditional beliefs. The it becomes a representation of identity, Japanese teenagers have to find their own which indicates people being saved from ‘names’. death but then being forgotten; even so, there is always an attempt to find ‘the

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Figure 2. The ritual of making Kuchikamizake by Mitsuha and her sister. (Kimi no na wa: 00:15:31- 00:16:24; ©CoMix Wave Films)

4. Conclusion the post-modern subject. Unlike The film Kimi no Na wa directed by sociological subjects who accept identity Makoto Shinkai negotiates youth’s as something taken for granted, post- identity, especially Japanese teenagers, modern subjects are fluid, accept leads the audience to search for its ‘name’ technological advances, and are familiar with depictions of the complexities of a with traditional values, such as body swap. After all, through the kuchikamizake and musubi, by accepting opposition, including reversal of the binary and respecting these values. Therefore, the oppositions, it asserts the identity of notion of identity is negotiated through the primarily Japanese teenagers. The identity portrayal of Japanese teenagers in facing of youth constructed in the film is through alternation between modernity and

IZUMI, Volume 10 No 1, 2021, [Page | 31] e-ISSN: 2502-3535, p-ISSN: 2338-249X Available online at: http://ejournal.undip.ac.id/index.php/izumi locality. This identity is represented by Oxford University Press. youth characters who can follow the Kusumawesti, R. (2017). Struktur Film current era's changes but remain to hold Kimi no Na wa Karya Makoto their cultural roots. Shinkai. Universitas Diponegoro. Additionally, this issue is also MacWilliams, M. (2008). Japanese Visual contextualized in Japan and the global Culture: Explorations in the World of society in globalization. The fascination Manga and Anime. An East Gate towards the ‘local’ and the impact of the Book. ‘global’ coexist; the emergence of anime Matsuura, K. (1994). Kamus Bahasa as pop culture products and the global Jepang-Indonesia. Kyoto Sangyo impacts through its content is a case in University Press. point. With these findings, this study is McKevitt, A. (2010). “You Are Not expected to trigger more research on Alone!”: Anime and the Globalizing Japanese studies and contribute to shaping of America. Diplomatic History, 893– perceptions and interpretations of cultural 921. phenomena globally or locally, which can Napier, S. J. (2001). Anime from Akira to also be applied to see cultural phenomena Princess Mononoke: Experiencing in the surrounding society. Contemporary Japanese Animation. Palgrave Macmillan. References Nassaji, H. (2015). Qualitative and descriptive research: Data type versus Allen, M., & Sakamoto, R. (2007). data analysis. Language Teaching Popular culture, globalization and. Research, 19(2), 129–132. Routledge. https://doi.org/10.1177/13621688155 Ashcraft, B. (2020). The Japanese Sake 72747 Bible: Everything You Need to Know Shinkai, M. (2016). Kimi no Na Wa (Your About Great Sake (With Tasting Notes Name). Toho. and Scores for over 100 Top Brands). Thelen, T. (2019). Disaster and Salvation Tuttle Publishing. in the Japanese Periphery. “The Burgess, C. (2007). The “Illusion” of Rural” in Shinkai Makoto’s Kimi no Homogeneous Japan and National na wa ( Your Name ) Disaster and Character Discourse as a Tool to Salvation in the Japanese Periphery Transcend the “Myth” vs. “Reality.” “The Rural” in Shinkai Makoto’s Asia-Pasific Journal, 1–25. Kimi no na wa (Your Name). Film Fitria, D. (2010). Jepang dari Isolasi Und Fernsehwissenschaftliches hingga Industri. Historia. Kolloquium, 4, 215–230. https://historia.id/ekonomi/articles/jep Tominaga, M. (2002). Globalization and ang-dari-isolasi-hingga-industri- Japanese animation: Ethnography of vq4yD American college students. University Fitria, S. (2019). Diaspora, Identitas yang of Pennsylvania. Terpecah? Unpam Press. Hall, S. (1996). Modernity: an introduction to modern societies. Blackwell. Hall, S. (Ed.). (1997). Representation: Cultural Representations and Signifying Practices (Culture, Media, and Identities series) (1st edition). Sage Publications. Hardacre, H. (2017). Shinto: A History.