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Acting the Role of Gods: Shinoda Masahiro's ACTING THE ROLE OF GODS: SHINODA MASAHIRO’S CINEMATIC CONFRONTATIONS WITH THE ABSOLUTE IMAGE by SEAN C. KOBLE A THESIS Presented to the Department of East Asian Languages and Literatures and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2014 THESIS APPROVAL PAGE Student: Sean C. Koble Title: Acting the Role of Gods: Shinoda Masahiro’s Cinematic Confrontations with the Absolute Image This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the Department of East Asian Languages and Literatures by: Daisuke Miyao Chairperson Glynne Walley Member Steven Brown Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Sean C. Koble iii THESIS ABSTRACT Sean C. Koble Master of Arts Department of East Asian Languages and Literatures June 2014 Title: Acting the Role of Gods: Shinoda Masahiro’s Cinematic Confrontations with the Absolute Image The narrative structure and formal style of the director Shinoda Masahiro’s films reveal his ethical objective to encourage his viewer to engage with works of cinematic representation as the creative products of human agency that they are. Within his period films, Shinoda hopes to stimulate recognition of cinema’s genealogical inheritance and reproduction of the absolutist propositions underlying traditional Japanese cultural forms. He posits that these have redirected essential human drives into masochistic self- effacement in tribute to a divine ideal imaged in the Imperial polity. By disrupting the illusion of cinematic realism which simply serves to reinforce Japanese culture’s existent intertextual networks, Shinoda seeks to reground cultural expressions in their material and human origins. This acts as the first step to imagining a Japanese subject outside of the limited definitions posed by nostalgic absolutism and its reactionary antithesis in the equally self-destructive mode of global capitalism. iv CURRICULUM VITAE NAME OF AUTHOR: Sean C. Koble GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, Oregon Willamette University, Salem, Oregon Tokyo International University, Kawagoe, Japan DEGREES AWARDED: Master of Arts, East Asian Languages and Literatures, 2014, University of Oregon Bachelor of Arts, Japanese Studies, 2007, Willamette University AREAS OF SPECIAL INTEREST: Japanese Cinema Studies Japanese Media and Culture Translation Methodology PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, Sept. 2011 - June 2014 Instruction of Japanese language, media, and culture. Media/Technical Translator, AGM, Sept. 2010 - Translation/localization of technical/academic documents and media. Native Language Teacher, JET Program/ALTIA Central, Aug. 2007- March 2011 Provided ESL education and language training in Tokushima and Osaka. GRANTS, AWARDS, AND HONORS: Center for Asian and Pacific Studies Professional Grant, Presentation of “Undefined Silhouettes: Nihilism and the Transnational in the Films of Masahiro Shinoda” at the 2013 IAFOR FilmAsia Conference, University of Oregon, 2013. Willamette Scholar-Athlete Award, Willamette University, 2007. v ACKNOWLEDGMENTS I wish to express my deepest gratitude to Professors Daisuke Miyao, Steven Brown and Glynne Walley for their invaluable support, direction and assistance in the development of this work. Their generous advice and criticism in regards to the reconciliation of Japanese cultural histories with film and critical theory has been key to this accomplishment, and I cannot imagine succeeding without their knowledge as a resource. In addition, I would like to thank Professor Alisa Freedman, who has been a valuable mentor throughout my research process, as well as Stephen Murnion, whose review and criticism of this manuscript’s early drafts were essential in guiding it to its final form. I would also like to acknowledge the Center for Asian and Pacific Studies at the University of Oregon for providing key funding for the presentation of portions of this work at the International Academic Forum’s 2013 FilmAsia Conference. vi For my parents, Becky, Jim, Mark and Radonna, from whom support has been constant and generous, and patience enduring. vii TABLE OF CONTENTS Chapter Page I. INTRODUCTION .................................................................................................... 1 Notes ...................................................................................................................... 13 II. ASSASSINATION: HISTORICAL OBJECTIFICATION OF THE SUBJECT ...... 17 Notes ...................................................................................................................... 41 III. DOUBLE SUICIDE: HUMANIST VISIONS OF CULTURAL THEATER........ 43 Notes ...................................................................................................................... 67 IV. UNDER THE BLOSSOMING CHERRY TREES: THE HORROR OF THE SUBLIME ......................................................................................................................................72 Notes ...................................................................................................................... 97 V. CONCLUSION ...................................................................................................... 99 Notes ...................................................................................................................... 108 REFERENCES CITED ................................................................................................ 110 viii LIST OF FIGURES Figure Page 2.1. The “big picture” of 1860s Edo. ........................................................................... 22 2.2. Details revealed, power decentered. ..................................................................... 22 2.3. Sasaki Tadasaburo, consummate bushi................................................................. 24 2.4. Sasaki’s POV: Kiyokawa as target. ...................................................................... 24 2.5. One early sequence in the central, non-flashback storyline .................................. 27 2.6. A flashback sequence as Sakamoto Ryoma (Sada Keiji) narrates ........................ 27 2.7. Frozen in time: the moments that define a man’s life? ......................................... 28 2.8. Frozen in time: the moments that define a man’s life? ......................................... 28 2.9. Lighting established. ............................................................................................. 29 2.10. Shedding light on Kiyokawa. .............................................................................. 29 2.11. “Sensei has composed a poem!” ......................................................................... 31 2.12. No joy in victory. ............................................................................................... 31 2.13. Feudal power in transition.. ................................................................................ 36 2.14. Sasaki’s loss of perspective.. .............................................................................. 36 2.15. Sasaki as historical object ................................................................................... 39 2.16. Kiyokawa undone by self-doubt. ........................................................................ 39 3.1. From left: Amijima‘s Kamiya Jihei (Kabuki star Nakamura Kichiemon II), Osan, and Koharu................................................................................................... 50 3.2. The creator’s hidden face. ..................................................................................... 55 3.3. Koharu/Jihei awaiting new bodies ........................................................................ 55 3.4. Ningyo maiden and living Koharu ........................................................................ 56 ix Figure Page 3.5. Jihei presented with his “fate” .............................................................................. 56 3.6. Jihei drawn forwards by the kuroko ...................................................................... 57 3.7. A kuroko shedding light. ....................................................................................... 57 3.8. “A letter from Osan”. ............................................................................................ 58 3.9. Frustrated perspective, false imprisonment .......................................................... 58 3.10. Ideal images of ukiyo-e. ...................................................................................... 60 3.11. The prewritten script. .......................................................................................... 60 3.12. Psychology exteriorized. ..................................................................................... 60 3.13. Unbridled lust amidst death. ............................................................................... 63 3.14. Under the kuroko’s gaze. .................................................................................... 63 3.15. Jihei as a sacrifice to national culture. ................................................................ 66 3.16. The couple’s desires, posthumously manipulated.. ...........................................
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