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Adaptation of First-Person Narrative Literature: Revisiting Kazoku Gēmu

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Adaptation of First-Person Narrative Literature: Revisiting Kazoku gēmu (1981) and The Family Game (1983) Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Xiyue Zhang, B.A. Graduate Program in East Asian Studies and Film Studies The Ohio State University 2019 Thesis Committee: Shelley Fenno Quinn, Advisor Margaret C. Flinn, Advisor Richard Torrance Kirk Denton Abstract The Family Game (1983) is a Japanese film directed by Morita Yoshimitsu 森田 芳光 (1950-2011). Recognized as one of important works in the history of Japanese film, it represents the alienation of Japanese family and satirizes examination-oriented education in 1980s. The film is based on the novel Kazoku gēmu 家族ゲーム (lit., “The Family Game”) by Honma Yōhei 本間洋平 (1948-) published in 1981. In the scholarly discussion of The Family Game, the fact that the film is an adaptation has been virtually ignored, which results in the inaccurate assessment of the film. The thesis is a comparative study of Morita’s The Family Game and Honma’s Kazoku gēmu. It first analyzes the narrative style and character development of Kazoku gēmu and identifies the novel as a boku novel with unique narrative style and character development. It then examines The Family Game as an adaptation and explores the challenges of adapting unique first-person text. The exploration of the two works shows that the adaptation of first-person narrative literature can be challenging, and a clarification of adaptation can help deepen understanding of both the source text and the film adaptation. ii Dedication To My Love, Zhaoqin Wang (1991-2007) iii Acknowledgements It is the moment for farewells. I thought there was no way for me to finish this project, but I eventually conquer my fear and reached this point. Heartfelt gratitude must be expressed before saying goodbyes. The first person deserving of my deep gratitude is Professor Shelley Quinn, my advisor in East Asian Studies, who has supported me in every possible way in the past three years, helping me get through one of the darkest periods of my life. I would also like to show my sincere gratitude to Professor Margaret Flinn, my advisor in the Film Studies Program, who has been a great guide to the world of film studies and a reliable supporter of my graduate study. I also want to show my appreciation to Professor Richard Torrance and Professor Kirk Denton who offered constructive feedback to my research, and to Professor Naomi Fukumori who always provided kind advice and help. I would also like to thank my fellow students and friends at the Ohio State University, who have supported my life in a foreign country with friendliness and warmth. I thank my fans whose cheer brighten my life. I thank my mother, Yuanyuan Yao, who brought me to the world and always encourages me to be who I am. I thank my father, Xiaolin Zhang, who taught me the importance of education and devotes all he has to me. I thank my grandparents, Hui Zhang and Yi Meng, for their genuine love. Last, iv I would my deep gratitude and yearning to my love who rests in peace, Zhaoqin Wang, the one who helped me find myself and gifted me with the most precious memories. I could have reached here if I had never met you. Writing a thesis is a process of thinking, of the research, of my experience, and of myself. Along the way, I questioned the value of this project, questioned my arguments, and questioned myself. I was confused as to whether I was fit for academic study. Now, I think I am able to say I am passionate about my research and want to explore more. Life is as challenging and demanding as writing a thesis, but I will not escape anymore. I want to go forward, step by step, for aforementioned people owed a great debt of gratitude from me, for myself. It is the moment for farewell. I am departing, to tomorrow. v Vita July 2012…………Changchun Experimental High School, Changchun, China June 2016…………Bachelor of History, World History, Nankai University, Tianjin, China Fields of Study MaJor Field: East Asian Studies and Film Studies vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgements ............................................................................................................ iv Vita ..................................................................................................................................... vi Table of Contents .............................................................................................................. vii List of Tables ....................................................................................................................... x List of Figures .................................................................................................................... xi Chapter 1: Introduction ....................................................................................................... 1 Theoretical Framework ................................................................................................... 4 MaJor Literature on the Film The Family Game ......................................................... 4 Literature Review ........................................................................................ 5 Analysis....................................................................................................... 8 MaJor Critical Literature on the Novel Kazoku gēmu ................................................ 11 Methodology and Outline ............................................................................................. 14 Chapter 2: Revisiting Honma’s Kazoku gēmu .................................................................. 16 Honma and His Literary Career .................................................................................... 18 A “Ippatsuya” Writer ................................................................................. 18 vii Changing Readership and Literary Aesthetic in Japan of the 1980s ........................ 22 Introduction of the novel Kazoku gēmu ........................................................................ 27 Synopsis .................................................................................................... 29 First-Person Narrative and Focalization ....................................................................... 31 A Boku Novel ........................................................................................... 33 Boku as the Narrator: Focalization, Witness Role, and Unreliability ....................... 38 A Fixed Internal Focalization .................................................................... 39 Boku as a Witness ..................................................................................... 40 An Unreliable Narrator ............................................................................. 43 Characterization ............................................................................................................ 47 Direct Characterization ............................................................................................. 48 Indirect Characterization ........................................................................................... 50 Highly Stylistic Speeches ......................................................................... 51 Description of Details ............................................................................... 53 Emotional Landscape ................................................................................ 56 Chapter 3: Revisiting The Family Game as an Adaptation ............................................... 63 Re-treating Adaptations as Adaptations ........................................................................ 65 The Problem of Fidelity ............................................................................................ 65 The Mode of Engagement ......................................................................................... 67 Morita’s Ideas about his Adaptation ............................................................................. 70 Creating a “Home Drama” ........................................................................................ 70 viii Morita’s Cinematography ......................................................................................... 73 Introduction of the film The Family Game ................................................................... 77 Synopsis .................................................................................................................... 79 The Family Game as Adaptation: Challenges and Solutions ........................................ 82 Challenges of First-Person Narrative ........................................................................ 83 Challenge from a Boku Narrator ............................................................... 84 Challenge from Indirect Characterization ................................................. 88 Solutions: Narrative, Landscape, and Symbols ........................................................ 89 Re-creating the Narration .......................................................................... 91 Showing Landscape .................................................................................
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