The Representation of Japanese Cultures in Hollywood Film Emperor (2012)

THE REPRESENTATION OF JAPANESE CULTURES IN HOLLYWOOD FILM EMPEROR (2012)

A Thesis

Submitted to the Faculty of Adab and Humanities in Partial Fulfilment of Requirements for Degree of Strata One (S1)

FRANSYUDHA ABANDHIKA

11150260000050

DEPARTMENT OF ENGLISH LITERATURE

FACULTY OF ADAB AND HUMANITIES

UNIVERSITAS ISLAM NEGERI SYARIF HIDAYATULLAH JAKARTA

2019

ABSTRACT

Fransyudha Abandhika, NIM: 11150260000050, The Representation of Japanese Cultures in Hollywood film Emperor (2012). Thesis: Department of English Literature, Faculty of Adab and Humanities, Universitas Islam Negeri Syarif Hidayatullah Jakarta, 2019.

This research aims to show the representation of Japanese cultures in Hollywood film Emperor (2012). The method used is Descriptive qualitative and the concept used is Representation by Stuart Hall, Cinematography Points of View by Joseph M, Boggs. All the data are collected from the dialogues of the characters and the pictures or screen-captures that represent Japanese cultures of the film. Results show that this film has successfully represented Japanese cultures particularly: Beliefs, Social tradition, Japanese House design, Tea ceremony, Butsudan, Seiza, Ojigi, Sensu Fan, Futon, Katana, Origami, Shodo, Hotokebashi, Kanji, Japanese Rising Sun Flag, Japanese Identical Colours, Japanese clothes Kimono and Japanese school uniforms by stereotypically described Japanese cultures through appearances, dialogues, actions, habits, behaviour and so on. Moreover, the representation of Japanese cultures in this film highlight the high culture of Japan itself. Keywords: Cultures, Representation, Hollywood, Japanese Traditions, Emperor.

APPROVAL SHEET

THE REPRESENTATION OF JAPANESE CULTURES IN HOLLYWOOD FILM EMPEROR (2012)

A Thesis

Submitted to the Faculty of Adab and Humanities in Partial Fulfilment of Requirements for Degree of Strata One (S1)

FRANSYUDHA ABANDHIKA 11150260000050

Approved by

Advisor

NINA FARLINA, M. Hum NIP: 19850429 201503 2 002

(Day/Date: Thursday, September 5th, 2019)

DEPARTMENT OF ENGLISH LITERATURE

FACULTY OF ADAB AND HUMANITIES

STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH

JAKARTA

2019

LEGALIZATION

Name: Fransyudha Abandhika

NIM: 11150260000050

The thesis entitled: The Representation of Japanese Cultures in Hollywood film Emperor (2012). Has been defended before the Adab and Humanities Faculty’s examination Committee on (September 25th, 2019). The thesis has already been accepted as a partial fulfilment of the requirement for Strata One Degree.

Jakarta, 2019

Examination Committee

Signature Date

1. Hasnul Insani Djohar, Ph. D. (Chair Person) 7th/11/19 19760501 200801 2 010

2. M Agus Suriadi, M. Hum. (Secretary) 7th/11/19 19780801 201411 1 001

3. Nina Farlina, M. Hum. (Advisor) 5th/11/19 19850429 201503 2 002

4. Ida Rosida,M. Hum. (Examiner I) 3rd/11/19

5. Hilmi Akmal, M. Hum. (Examiner II) 3rd/11/19 19760918 2008 01 1 009

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DECLARATION

I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text.

Jakarta, August 2019

Fransyudha Abandhika

ACKNOWLEDGMENT

Bismillahirrahmaninrrahim. In the name of Allah, the beneficent and the merciful God, may peace and blessing of Allah be upon all of us. Praise being to Allah SWT and peace and blessing be upon the great human leader our prophet Muhammad SAW and all of followers. I would like to give the most appreciation and many thanks to Allah SWT. Finally, I could finish this thesis to gain the Degree of undergraduate of English Literature Department in the Faculty of Adab and Humanities, Syarif Hidayatullah State Islamic University Jakarta. This thesis is presented to English Literature Department of Adab and Humanities faculty UIN Jakarta as partial fulfilment of the requirement for undergraduate degree. I would like to express the highest gratitude to my mother; Elly Yati and also my brothers and sisters who have given spirit and motivation to finish this thesis and my study. I also would like to thank my advisor: Mrs, Nina Farlina, M. Hum. for her great patients, times, advices and contributions on finishing this thesis. May Allah SWT bless her and her family. I also would like to convey my sincere gratitude particularly to: 1. Saiful Umam, Ph. D., as the Dean of Adab and Humanities Faculty, State Islamic University Syarif Hidayatullah Jakarta. 2. Hasnul Insani, Ph. D., as the Head of English Literature Department. 3. M Agus Suriadi, M. Hum., as the Secretary of English Literature Department. 4. All lectures of English Literature Department for their teaching during my study. 5. My aunties and my uncles for always support me to finish this thesis. 6. Universitas Indonesia Library, UIN Syarif Hidayatullah Jakarta Library, and American Corner who provided research references and comfortable place for me to completed this thesis. 7. KKN Kiranawira 2018.

8. To all my friends of ELD C 2015. 9. Elsa Erika, Dina Saparindah and Tommy Anggi as the reviewers of this thesis.

And finally, to all my beloved friends of English Literature Department who cannot mention one by one, but I will never forget them.

Jakarta, August 2019

Fransyudha Abandhika

TABLE OF CONTENTS

ABSTRACT ...... i

APPROVAL SHEET ...... ii

LEGALIZATION ...... iii

DECLARATION ...... iv

ACKNOWLEDGMENT ...... v

TABLE OF CONTENTS ...... vii

TABLE OF PICTURES ...... ix

GLOSSARY ...... xi

CHAPTER I INTRODUCTION ...... 1

A. Background of Study ...... 1

B. Focus of the Research ...... 3

C. Research Questions ...... 3

D. Objectives of the Research ...... 4

E. Significance of the Research ...... 4

F. Methodology ...... 4

1. Method of the Research ...... 4

2. Unit of Analysis ...... 5

3. Techniques for Collecting the Data...... 5

8. Techniques for Data analysis ...... 5

9. Instrument of the Research ...... 5

CHAPTER II THEORETICAL FRAMEWORK ...... 6

A. Previous Research ...... 6

B. Cinematography ...... 8

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C. Representation ...... 9

CHAPTER III RESEARCH FINDINGS ...... 12

A. The Representation of Japanese Cultures ...... 12

CHAPTER IV CONCLUSION AND SUGGESTION ...... 53

A. Conclusion ...... 53

B. Suggestion ...... 54

WORKS CITED ...... 55

APPENDIX ...... 59

viii

TABLE OF PICTURES

Picture 1. Christianity Cross on the Wall ...... 13

Picture 2. Butsudan in the House ...... 14

Picture 3. General Bonner Fellers meets Emperor Hirohito ...... 16

Picture 4. Do not touch emperor directly ...... 17

Picture 5. Emperor Hirohito and General Douglas MacArthur ...... 17

Picture 6. The painting of the sun goddess Amaterasu ...... 19

Picture 7. Konoe’s House from outside view...... 21

Picture 8. Konoe’s Shoji Wall ...... 22

Picture 9. General Kajima’s Tatami ...... 23

Picture 10. General Kajima and General Bonner Fellers, Tea ceremony ...... 24

Picture 11. Tea ceremony ...... 25

Picture 12. Butsudan in the House ...... 26

Picture 13. General Bonner Fellers and Konoe, Seiza Sitting ...... 27

Picture 14. General Bonner Feller gives a bow (Ojigi) to general Kajima ...... 29

Picture 15. Minister Sekiya gives a bow (Ojigi) to the emperor ...... 29

Picture 16. A Japanese woman gives a bow (Ojigi) to the emperor ...... 30

Picture 17. Sensu fan in Aya Shimada’s House ...... 31

Picture 18. General Bonner Fellers sleeps on the Futon ...... 33

Picture 19. Emperor Soldiers hold the Katana ...... 34

Picture 20. Katana in General Kajima’s house ...... 35

Picture 21. An Origami in Aya Shimada’s house ...... 36

Picture 22. A Shodo Calligraphy on Konoe’s house wall ...... 38

Picture 23. A Shodo Calligraphy on General Kajima’s house wall ...... 38

Picture 24. Fudepens in General Kajima’s house ...... 39

Picture 25. Hotokebashi on Butsudan Table ...... 40

Picture 26. Several Japanese people names written in Kanji ...... 41

Picture 27. A Flag of Rising Sun of Japan ...... 43

Picture 28. Inside of Japanese Emperor’s Palace ...... 44

Picture 29. Identical Brown Colour used by Japanese people ...... 45

Picture 30. A Box of Black Incense ...... 46

Picture 31. Identical Green Colour Bamboo Trees ...... 47

Picture 32. General Kajima wearing Men’s Kimono ...... 48

Picture 33. A Japanese woman wearing Kimono...... 49

Picture 34. Two Girls wearing Japanese school uniform ...... 50

Picture 35. Japanese boys wearing Gakuran (Japanese men’s uniform) ...... 50

GLOSSARY

Burakumin Hamlet people

Ainu A member of a native Japanese population, an ethnic group that is physically different (with light skin colour and round eyes) from the majority population.

Kanji Chinese characters (called Kanji in Japanese) were used to write Japanese.

Kana A name of Japanese Characters including (Hiragana and Katakana).

Katakana Japanese origin characters were used to write in Japanese, especially to write some foreign terms.

Hiragana Japanese origin characters were used to write in Japanese, usually blended with Kanji.

Shoji A traditional Japanese house is a kind of screen that is more commonly made up of wood panels and transparent paper which are traditionally used as sliding doors, room dividers and window covers.

Engawa A Japanese house Corridor.

Tatami A Japanese Traditional Mat.

Kirizuma Pointed roofs of Japanese Traditional houses.

Yosemune Hinged roofs of Japanese Traditional houses.

Tatamu A Japanese word which means "folding or piling up,

Paekche Early name of Korean Kingdom in the third period of Korean history, established 18th BC.

Tenno Japanese word means the Emperor.

Yamato A name of Japanese majority ethnic besides Ainu.

Jomon A Japanese prehistoric race/ethnic, such as Ainu and Yamato.

Tokugawa The Tokugawa Shogunate, a Japanese period of Shogun, a Shogun period of internal peace, political stability, and economic growth under the shogun (military dictatorship) established by Tokugawa Ieyasu.

Meiji The period when Japan was led and ruled by the emperor Meiji Tenno, was marked by the modernisation and westernisation of the country, where Japan was previously known as an isolated country.

Chanoyu Japanese term of Tea Ceremony.

Sado Another Japanese term of Tea Ceremony such as Chanoyu and Ocha.

Ocha Japanese word means Tea also a Japanese term of Tea Ceremony.

Matcha Another kind of Japanese tea such as green tea, basically made of green tea.

Butsudan An altar or a kind of religious ritual place for prayer that is placed in places that can be reached by people.

Shokyaku A step of Japanese tea Ceremony.

xii

Obon an annual traditional Buddhist event to commemorate one's ancestors. It is believed that every year during Obon, ancestral spirits return to this world to visit their relatives.

Meinichi Japanese term of the Death Anniversary.

Zushi Japanese word means Box.

Nichiren A Japanese religious leader in each period time of Japanese imperial such as Nenbutsu and Daimoku.

Nenbutsu A Japanese religious leader in each period time of Japanese imperial such as Nichiren and Daimoku.

Daimoku A Japanese religious leader in each period time of Japanese imperial such as Nenbutsu and Nichiren.

Hōnen A Japanese religious leader in each period time of Japanese imperial such as Shinran and Rennyo.

Shinran A Japanese religious leader in each period time of Japanese imperial such as Honen and Rennyo.

Rennyo A Japanese religious leader in each period time of Japanese imperial such as Shinran and Honen.

Seiza A Japanese Sitting founded in early the Heian period, and this posture is an important way for tea ceremonies in Japan, there are various sitting positions in daily life, and "Seiza" is a type of sitting for ceremonies, prayers and respect.

Ojigi A kind of Japanese Bow to Show Honours and Respects to the other people.

Eshaku Slightly Japanese bowing. Performed by bending ± 15 degrees.

xiii

Keirei Japanese Respectful bowing. Performed by bending ± 30 degrees.

Saikeirei A Japanese Kind of Bows, means Bowing to worship. Performed by bending ± 45 degrees.

Sensu Fan A Japanese traditional Folding Fan.

Futon the traditional style of Japanese beds consisting of soft mattresses filled with cotton and blankets.

Katana A Japanese Sword used by the Samurai and the Soldiers.

Origami A Japanese term of Folding papers.

Orisue Early Japanese term of Origami (Japanese Folding Papers).

Oritaka An early Japanese term of Origami (Japanese Folding Papers).

Shodo Japanese Traditional Calligraphy written in Kanji.

Hotokebashi/ a taboo or don't do it while eating rice using chopsticks. From Tatebashi term Tate that comes from the word Tateru, which means standing. Hotoke means Buddha or spirit, and therefore symbolises how incense is offered to spirits.

Hotoke Japanese term means Buddha Spirit.

Tateru Japanese word means Standing.

Nissho-ki A name of Japanese flag name.

Hinomaru Another Japanese flag names.

Kyokujitsu-ki A name of Japanese flag used for war, military.

Amaterasu A name of Japanese Sun Goddess in Shintoism.

xiv

Kami Japanese word means God.

Kimono Japanese Traditional Clothes.

Obi Japanese term means, sling tied to the hips.

Yofuku Japanese robes from western-style clothing.

Juban Japanese word means underwear.

Haori Japanese word means short jacket.

Habutae The official male Kimono type made of black silk.

Montsuki A term of Japanese clothes Kimono that wears a family suit, is called Montsuki.

Jimbei A Japanese male Kimono made of cotton shorts and outer robes.

Tanzen Japanese term of layered cotton robes of Kimono.

Uchikake Japanese term of long outer robes of Kimono.

Kakeshita Japanese term of white underwear of Kimono.

Kirigami Japanese word means paper cutting.

Kumigami Japanese word means paper assembly.

Furisode Another model of female Kimono.

Fudepen A pen that used to write Shodo or Japanese Traditional Calligraphy.

Showa period Showa Period is one of the names of the times in Japan in the 20th century. The Showa era occurred during the reign of Emperor Showa.

Edo period Edo Period is a division of a period in Japanese history that began with the first shogun led by Tokugawa Ieyasu.

Maruobi Japanese term of Sash is folded in half of Kimono.

Hitoe Japanese term of non-solid Kimono.

Awase Japanese term of soft Kimono.

Yukata Japanese summer Kimono.

Jofu Japanese term fine linen of Kimono.

Gakuran Japanese word means Japanese men’s uniform.

Kamus Besar Indonesian Terms Dictionary. Bahasa Indonesia

Hinoki wood A Kind of Japanese wood used to make a Sensu fan.

Shikibuton A Japanese word means lower mattress.

Mofu A Japanese word means blankets

Taoruketto A Japanese word means summer blankets.

Makura A Japanese word means pillow.

Tataki Futon Another model of Futon’s special tools that usually made of bamboo, and similar to western carpet beaters.

Seppuku Japanese term of (Suicide) process which is usually done by soldiers when Samurai lost in battle, the service of a soldier rather than dying at the hands of an enemy is better to commit suicide, that's the philosophy embedded in Japanese soldiers.

Bushido A Japanese Soldiers/Samurai strict code of ethics.

xvi

Samurai A Japanese term meaning a member of a strong military caste in feudal Japan, especially a member of the Daimyo military follower class.

Kakebuton Japanese word means thick bed covers.

xvii

CHAPTER I INTRODUCTION A. Background of Study Culture is a product of human civilisation, certain cultures represent a certain group, culture can appear anywhere, but the media are often the most effective in presenting certain cultures such as film, one of the most effective media for displaying and spreading culture. Meanwhile, Hollywood as one of the western films industry often displays cultural elements in some of its films as well as some scenes in its films, not only displaying its own culture, Hollywood also often displays the cultures of other nations, especially the cultures of the eastern nations, (Asia). Yun Park said that "recent Hollywood action and science fiction films are helping shape a new image of the east" (Darwanto 46). In addition, Hollywood films in the last two decades often take up the issue of film stories about Japan, such as the film The Last Samurai (2003) and The Big hero 6 (2014). Therefore, things like this are quite interesting to discuss because film is not only as entertainment, Hollywood films also open our knowledge about the cultures of other nations, such as Japan. Meanwhile, Hollywood films are packaged differently but have generally the same content, such as one of them is Emperor (2012) which will be discussed in this study. Therefore, The Emperor (2012) film tells the story of the United States Brigadier General named Bonner Fellers who was sent to Japan as part of the United States air forces ordered to control Japan. He was assigned with war criminal prisoners from Japan, including one of them was prime minister Tojo. Before he left for Japan, he met his translator named Takahashi. Fellers personally gave him the order to find out the location of the existence of his lover named Aya Shimada (Japanese Catholic college student) whom he had met in the United States before the world war II. After his task of detaining Tojo and after prevented his suicide, the great commander of the United States army named Douglas MacArthur, told the Fellers that Emperor Hirohito could also be accused of being a war criminal. By doing so, allied forces could make Japan and its troops surrender. On the other hand, when they captured the emperor, it would be a breath of fresh air for the Soviet

Union because the spread of communism would be very easy. Even so, Americans want the Emperor Hirohito to be responsible for what happened during the war. MacArthur then gave ten-days Fellers to investigate Emperor Hirohito. The next day, Takahashi told fellers that he had found Aya. Aya was apparently in an apartment in Tokyo and had been bombed. Fellers then asked him to look for Aya in her hometown in Shizuoka. Fellers and their members began compiling a list of people suspected of being involved with Emperor Hirohito when the war began, they forced Tojo to answer all his questions and give him information to save the emperor. Fellers then travelled to Sugano prison to meet three people whose names had been given by the Tojo to him. One of the names is Fumimaro Konoe, a former prime minister. Fellers then went to meet at the house and asked whether it was true that the emperor was responsible for the start of the war. The answer given by Konoe did not give any indication. He only said that the emperor was completely innocent. But, Konoe also gave instructions to the Fellers to go meet other people in completing their duties as American general to look for the bright spots of this case. On the other hand, this film shows stunning and interesting cinematography about Japan, after the world war II, and scenes about social life, behaviour, cultures, traditions and customs that exist in the country. Apart from that, all of this research will be focused through data collected such as from scenes, character’s dialogues and pictures or screen-captures from the film that displaying Japanese cultures. In this study, the writer intends to examine how the Emperor film represents Japanese cultures, because according to Rulianto (2015) “Films can play a role in presenting every culture of an important society, and also can help us in the sense and understand the surrounding environment”. Basically, film can be a tool to record social conditions at a particular time or place. Films can also be public information about the past, present, and even the future. Film has a strong power for human life. This can be traced through the history and early development of films born of two different wombs: from culture and from the economy. Film is a cultural tool that has economic value, and this case is symbiotic which cannot be separated because films have a great power for human life. Therefore, film as a strong media can be used to introduce or describe a particular culture.

Meanwhile, Emperor (2012) is one of the Hollywood films that took the post-World War II setting in Japan. The film focuses on General Bonner Fellers and the busyness of US soldiers who are carrying out their duties to secure the situation after the World War II in Japan, the film also takes more themes and setting places in Japan than in America and which are the hallmarks of other Hollywood films are the dominance of the United States in this film is very strong. However, what makes this film interesting is how explicitly or implicitly this film shows the traditions, cultures and life of the Japanese people featured in this film. Then, the writer will be focused on the representation of the Japanese cultures based on the collected data, and also does not rule out the possibility that the writer will find a number of things about the culture displayed, how and what is obtained and wants to be shown in this film other than the representation of Japanese cultures. In addition, to understand Japanese cultures, this study uses the concept of Cinematography (Points of view) by Joseph M Boggs and Cultural Representation by Stuart Hall especially with a reflective approach to show how Emperor (2012) film reflects Japanese cultures explicitly or implicitly.

B. Focus of the Research Based on the background of the research, this study focuses on Japanese cultures which are represented generally in several film scenes. This research tries to explain how the "Emperor" film represents Japanese cultures by using the concept of Cultural representation from Stuart Hall especially with a reflective approach and Cinematography Points of View by Joseph M, Boggs.

C. Research Questions - How are the Japanese cultures represented in the Emperor film? - What are the Japanese cultures artefacts that represented in the Emperor film?

D. Objectives of the Research - To show the representation of Japanese cultures represented in the Emperor film. - To show the Japanese cultures artefacts that represented in the Emperor film.

E. Significance of the Research The significance of this research is to provide knowledge to readers, especially English Literature students who have studied representation and cinematography is to find out how Hollywood films as a western product represent the culture of Asian countries, especially Japan in this film. And also, for non- Japanese about the depiction of Japanese cultures through Emperor (2012) film. This research can also be used as a reference for understanding Japanese cultures in the study of literature, especially through film.

F. Methodology This methodology consists of several important elements related to research, namely, research methods, data sources, data collection methods, data analysis methods and research instruments. 1. Method of the Research Regarding the research problem and also the purpose of the research mentioned above, this research uses Descriptive qualitative. According to Farkhan “qualitative research methods are studies that rely on verb and other numerical data as a basis for analysis and problem solving that must be examined, such as the content of analysis, discourse analysis, naturalistic research” (Farkhan 27). He also explained that descriptive does not require statistical analysis and must analyse based on methods, theories or relevant approaches (Farkhan 24). Qualitative methods can pay more attention to data analysis, data related to the context itself (Bahtiar and Aswinarko 16). This method is used to explain, describe, and analyse film elements. Data are collected, explained and analysed using the concept/theory, additional aspects and sources.

2. Unit of Analysis The data source or unit of analysis in this study is the Emperor film produced by Lionsgate and Roadside Attractions, directed by Peter Webber, released in 2012 in the United States starring Tommy Lee Jones, Matthew Fox and Eriko Hatsune. 3. Techniques for Collecting the Data Collecting data in scientific research is a systematic procedure to obtain indispensable data. The data obtained from scenes of the Emperor film, several journals and e-books downloaded from Google Scholars, especially those related to Japanese cultures. The steps of data collected are conducted as follow: 4. The data are downloaded from various sources on the web, then printed them (except the Emperor film file). 5. The data classified 6. Every datum or scene is given the description. 7. The data are analysed with Cinematography Points of View and Representation concept. 8. Techniques for Data analysis Data analysis techniques from this thesis include several stages. First, data are collected. Secondly, data are identified that is related to Japanese cultures. Third, the data were analysed using Cinematography Points of View by Joseph M Boggs and Representation by Stuart Hall. Finally, the results of the analysis are concluded. 9. Instrument of the Research The research instrument in this study provide Personal Computer, to open the Emperor film file that is played by Pot video player. Then, screen-captured scenes identified and analysed with aspects related to Japanese cultures starting from appearance, behaviour, habits, that represent Japan in this film. In addition, other aspects of Japanese cultures and traditions in real life including Japanese social, language and history situations are also used as additional sources for understanding this film. The next step, the researcher will compare all the facts shown in this film clearly.

CHAPTER II THEORETICAL FRAMEWORK

The theoretical framework in this study is to analyse The Representation of Japanese cultures in Emperor film. There is a concept used: Representation by Stuart Hall with a descriptive qualitative reflective approach. And supported by Cinematography points of view from Joseph M, Boggs. Then the supporting data of Japan and cultures. That support the representation of Japanese cultures in this film and either the Cinematography that support pictures on representing Japanese cultures.

A. Previous Research In the previous study, the writer found several studies related to this study, research with the same corpus, then research with different corpus but with the same issue. First, the film “Emperor (2012)” had previously been examined by Niels Tacoma a Master graduate student of Universteit Utrecht, Netherlands 2014. In his thesis entitled "How Emperor Hirohito Escaped Persecution, A Comparison between Emperor (2012) and the Academic Discussion on Japanese War Guilt", in his research he discussed the comparison of film Emperor (2012) with a history written about the second world war between the United States and Japan, and this research he focused on how Emperor Hirohito could escape from the persecution of the second world war, he used the historiography and academic discussion while analysed his research, he use the same corpus but different issues and research concepts used with this research. Then the second research is a Master graduate thesis written by Keisuke Kimura, a Master graduate student of Bowling Green State University Ohio, United States 2018, entitled “Identity in The Shell: Hollywood Film Representations of Japanese Identity”. Who examined the representation of Japanese identity and culture in the Hollywood films: Ghost in Shell and Gung Ho by using the Orientalism concept of Edward W Said. In addition, in his research he included several films related to Japanese culture and identity, but he did not include the film Emperor (2012) as an example, then only

focused his research on one film titled (Ghost in The Shell). This is a difference existing in his research with this research. The third research is a thesis written by Fahmi Ali Iqbal, a student of English Literature, UIN Syarif Hidayatullah Jakarta, Indonesia 2017, entitled "The Representation of Mexican Cultures in The Animation Film (The Book of Life)". Who examined the representation of Mexican cultures in the Hollywood animated film The Book of Life, with a Cultural Studies approach in his thesis, he used some concepts: Representation by Stuart Hall and Character’s Characterisation, in his research he included the definition of film by Joseph M Boggs but his analysis did not use Cinematography, this is what distinguishes it from his research with this research.. From the brief explanation above, in this study I try to make a difference and more details from previous research, if the research conducted by Niels Tacoma Previously raised more about the comparison of Emperor film (2012) with the history of the world war II between the United States and Japan, and Fahmi Ali Iqbal, who examined The Representation of Mexican cultures with a cultural study approach by using the Characterisation of the Characters to support the Representation. then my research is more about how is Japanese cultures represented by Emperor (2012) film by using the concept of Representation by Stuart Hall and supported by the Cinematography (Points of View) of Joseph M Boggs, where Hollywood films rarely raise the theme of war films by inserting elements of Japanese cultures through different perspectives like this. Then, this study uses the concept of representation through a reflective approach and cinematography (points of view) to provide a more complex understanding of Japanese cultures, starting from the general and the whole to more specific. Through this research, the reader will know first-hand about Japanese cultures, and traditions that are implicitly or explicitly represented by this Hollywood film, Emperor (2012). This research can also be considered as a reference for future researchers.

B. Cinematography Boggs and Petrie (126) explained that cinematography in film is a work that results from exploiting the interaction of subtle light and shadow such as painting and photography, manipulating three-dimensional space such as; sculpture, focus on moving images like pantomime, and like in dance. Moving images in films have rhythms that resemble music and poetry that communicate through imaging, metaphors, and symbols. Like drama, films communicate visually through action and verbally through dialogue, films also expand or suppress time and space, travel back and forth freely within their wide boundaries as well as novels (Boggs and Petrie 2). Films have a big impact on the world in spreading messages, entertainment, or even advertising. According to Butler, the director's role is as a technician, who will guide the audience's perceptions and responses through the linear structure of the film; The shift from, say, a long chance to close, is not something as surprising as other filmmakers fear, but represents the way people suddenly focus on details in any situation (Butler 15- 16). To appreciate fully the workings of the cinematic film, we must be willing to watch in a little different way, focusing not just on what we are seeing but also on how it is being shown and why it is being shown that way. Boggs and Petrie (127) explained that to increase our perception effectively, we must become familiar with the different ways the film camera sees the action taking place before it-that is, with different cinematic points of view. This first stage in sharpening our watching skills requires constantly considering the following explanation for every segment of the film we intend to analyse. Thus, we expect a filmmaker to spirit us about from one vantage point to another, but we assume that visual continuity and coherence will be maintained so that we can follow intuitively. Four points of view are employed in motion pictures: 1. Objective Point of View (the camera as an observer or a sideline observer) The objective point of view uses as many static cameras possible to produce this window effect, and concentrate on the actors and actions without drawing attention to the camera. The objective camera shows the

emotional distance between the camera and the subject; the camera seems to only record, as straight as possible, the characters and actions of the story. 2. Subjective Point of View (the camera as a participant in action) The subjective point of view gives us the visual perspective and emotional intensity felt by the characters or subjects participating in the action 3. Indirect-Subjective Point of View The indirect-subjective point of view usually does not provide a participant's point of view, but it brings us close to the action so we feel intimately involved and our visual experience is intense. Consider close-ups that convey the emotional reaction of a subject. 4. Director's interpretive Point of View The director always manipulates our perspective in a subtle way. This filmmaker chooses not only what to show us but also how we will see it. By shooting scenes from a special angle or with a special lens, or in slow or fast motion, and so on. Thus, we are forced to react in a certain way to what we see, so as to experience the interpretive point of view of the director. We consciously realised that the director wanted us to see the action in an unusual way. Based on the explanation, the writer uses those four points of view of Cinematography to support the Concept of Representation by Stuart Hall through the Visuals, the steps of this analysis are collected the data or the scenes of the film, then each scene categorised based on what point of view used, and analyse what the scene represented by the concept of representation.

C. Representation Representation is one of the theories in cultural studies. Representation begins with early literary theory in the ideas of Aristotle and Plato, and has been involved in a significant component of language, the study of Saussurian and Communication (McLaughin). Representation is thus an act of symbolism that reflects the world of independent objects (Barker 177). Representation also uses

signs and symbols to represent concepts, ideas, and feelings to others and language becomes one of the media to convey it. In other words, it is the production of the meaning of concepts in the mind through language. Representation is a process that connects three elements; p. concepts, and signs that produce meaning in language (Hall 1). In his book, Stuart Hall defines: Representation means by using language to say something meaningful about, or to represent, a meaningful world, to others, besides, representation is an important part of the process by which meaning is produced and exchanged between members of culture (Hall 15). According to (Hall 16) Representation has 2 systems. First, the system in which all kinds of objects, people and events correlate with a series of concepts or mental representations that we carry in our heads. Without them, we cannot interpret the world at all. This system does not consist of individual concepts, but from various ways of organising, grouping, organising and classifying concepts, and building complex relationships between them (Hall 17). Second, Signs are arranged in language and it is the existence of common language which makes it possible to translate our thoughts (concepts) into words, sounds, or images and then use these, operate as language, to express meaning and communicate thoughts to other people (Hall 18). Meanwhile, according to Stuart Hall, in analysing the meaning of representation, researchers can use 3 approaches, all of which are closely related to representing meaning, such as: 1. A Reflective approach, meaning is considered to lie in objects, people or person, and ideas or even in the real world, and language functions like a mirror, to reflect the real or true meaning as it already exists in the world. Basically, reflective theory proposes that language works by only reflecting or imitating certain "truths" already present in the real world (Hall 24). 2. An Intentional approach, that means in the representation of opinions opposite case. It argues that it is the speaker, the writer, who imposes his uniqueness meaning in the world through language. Words mean what the writer means must mean. This is not to say that writers can make their own personal language; communication - the essence of language - depends on shared linguistics conventions and shared codes in culture (Hall 25).

3. A Constructionist approach, the acknowledges that there are no things in it both themselves and individual users of language can improve meaning in language. This the approach serves to reconstruct meaning (Hall 25).

Based on the explanation about Stuart Hall's representation. The writer has chosen to use a reflective approach in analysing this research, because the reflective approach is the most suitable for this research to show Japanese cultures represented in Emperor (2012) Film. This approach represents the real world. That is, the reflection of the real world could be represented by the same meaning or different meaning. Representation is the production of meaning, with this approach expected to explain who makes the representation. The reflective approach is able to reflect the meaning and represent Japanese cultures.

CHAPTER III RESEARCH FINDINGS

This chapter explains about Japanese cultures shown and represented in the film, the writer found some scenes and actions as the corpus of the research. Then, will be classified in the Cinematography Points of View and then analysed by the Representation of Japanese cultures that divided into two parts: Japanese Beliefs, and Japanese Cultural life, Traditions and Customs, that are presented in the following explanations:

A. The Representation of Japanese Cultures Based on theoretical framework, the Emperor film showed a depiction of Japan’s conditions after World War II that this film clearly talks about Japan. In chapter one and two the writer explained history, social, traditions, cultures. Culture is a complex whole which includes knowledge, belief, arts, morals, laws, and any other capabilities acquired by man as a member of a society. One of the best ways to understand culture is to learn something about how it began and how it grew. To understand more about the culture needs to know about the cultural element. Because of its presence, the culture will have a total meaning. In Kamus Besar Bahasa Indonesia¸ cultural element is the cultural that can be used as certain unit analysis. There are seven cultural elements; the system of religion, the system of custom, the system of social organisation, the system of science, the system of livelihood, the system of technology and tools, language, and art. In this analysis will be divided into two parts: Japanese Beliefs, and Japanese Cultural life, Traditions and Customs:

1. Japanese Beliefs a. Religion

Broadly speaking, the Japanese population from the World War II to the present majority adheres to Shintoism and Buddhism, Iwai (2)

collected this supporting data by obtained from the Cultural Affairs Agency, the Japanese Government, the number of religious groups in Japan: 181 thousand: Shinto Followers: 89.5 million (70.4% of the total population), Buddhists: 88.7 million (69.8%), Christians: 1.9 million (1.5%), other religions: 8.9 million (6.9%)”. But in practice, modern Japanese society in religion is not yet clear enough, in this case such as celebrating religious days in the country, and other things that are sometimes confused in religious practices, for example: Japanese people generally admit they are born with Shinto religious beliefs, then adolescents and adults moved to pray to the Buddha and worship at the temple, then married in the Christian Church and joined in celebrating Christmas, and finally died by means of Buddhism (cremation), this is also shown in the scenes in this film:

Picture 1. Christianity Cross on the Wall

In this picture, there are two actors who are busy tidying up the room in the house, it is clear that the frame discussed here used an objective point of view, where the overall focus is clearly opened without any blurring of focus on one of the objects in this scene. The decorations, wall displays such as Christianity cross and other details are quite objectively depicted.

Picture 2. Butsudan in the House

In this picture, there is a table with some typical Buddhist prayer tools. Nelson (312) in his article of Japanese Journal of Religious studies explained that Buddhist prayer tools table (Butsudan) is a kind of religious ritual place for prayer that is placed in place that can be reached by people. It is clear that the frame shown here used an objective point of view, where the whole scenes are clearly depicted without any blurring of focus on one of the objects in this scene. The details of the prayer tools are clearly shown here. In the other hand, it seems that this scene also uses the Close Up Zoom Technique in camera shooting, so that the audience is more focused on the object being displayed.

From the pictures above, it looks normal at a glance which only shows the symbol of a particular religion contained in this film, but if analysed more deeply, actually the two pictures above represent how Japanese religion practice is. Previously it was explained on the background of study in chapter I that in this film the character of Aya Shimada is a follower of Catholic Christianity, which is seen in the scene above which shows the "Cross" displayed on the wall of her house, but in the second picture, at her house there is a kind of "Butsudan" and there is ash from Aya Shimada's body that has been cremated and placed on the Butsudan table, this is clearly a Buddhist ritual for the deceased. Therefore, religious practice like this can be said to be quite complicated, but this has become commonplace in religious life in Japan and must be properly understood.

Some hear-say said that not a few Japanese people who were born as Shintoism or Buddhism and then they celebrate Christmas, sometimes get married in a church, and die by dying cremated, as followers of Buddhism. b. Emperor as a deity

Each country has its own beliefs, manners and customs, such as Japan, beliefs inherited from generation to generation have always been a unique discussion, Japanese people's belief in the emperor as deity (Kami) is one example discussion. Basically, the Japanese imperial system is often described as a tradition characterised by a linear and absolute hierarchy with Amaterasu (the sun goddess) above and its direct descendants, the divine king, occupying the peak of Japanese society and the emperors as deity. This view has been promoted since the late nineteenth century by successive Japanese military governments, but almost completely eliminated at the end of World War II. This statement is supported by Koichi Kido's dialogue with General Bonner Fellers in this Emperor film, which states that:

Koichi Kido: The emperor may be considered to be a god, but in truth this is a ceremonial role. he has lived a hermetic life and cannot be compared to men whose rise to power was driven by ambition. (Emperor (2012), 01:15:15 – 01:15:38)

Therefore, in the "Emperor" film which tells the condition of Japan after World War II, it also shows a picture of how Japanese people view their beliefs at that time. Because, Japanese people believe that the emperor is a deity, therefore there are several ethics that must be maintained for Japanese and non-Japanese people in looking at the Japanese emperor. there are several ethics that will be explained:

Do not have direct physical contact when meeting the emperor

In this film an explanation of the prohibition of direct physical contact with the emperor was explained by Vice Prime Minister Sekiya,

when he told General MacArthur the rules of meeting with the Japanese emperor:

Vice Minister Sekiya : His Majesty can only be recorded by a court approved photographer from a distance. Vice Minister Sekiya : His Majesty won’t eat anything or drink anything during the visit. Vice Minister Sekiya : You may not shake His Majesty’s hand or touch Him. Vice Minister Sekiya : You must never look at His Majesty directly in the eyes. Vice Minister Sekiya : You may not step on his shadow. Vice Minister Sekiya : When you sit down with His majesty, you have to sit on His left. Vice Minister Sekiya : You must never call His Majesty by His name. (Emperor (2012), 01:30:05 - 01:31:05)

Picture 3. General Bonner Fellers meets Emperor Hirohito

The picture above shows a number of US soldiers paying attention to Emperor Hirohito, including General Bonner Fellers who in the perspective of this scene focus on the position of the subject (General Bonner Fellers with Emperor Hirohito) but apart from that blur cameras on several supporting actors there in the scene, this shows the use of a subjective point of view.

Picture 4. Do not touch emperor directly

The picture above shows a scene when the hands of Emperor Hirohito's personal assistant while helping to put on Emperor Hirohito's clothes by wearing gloves, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject that want to display, then close up zoom also used to better give a clearer impression.

Picture 5. Emperor Hirohito and General Douglas MacArthur

The picture above there are two actors (Emperor Hirohito and General Douglas MacArthur) sitting next together, it is clear that the frame discussed here used an objective point of view, where the overall focus is clearly opened without any blurring of focus on one of the objects in this scene. The decorations, wall displays, windows are quite objectively depicted.

The picture 3 shows that the rule is not allowed to look at the emperor directly into his eyes, then in the picture 4 there should be no physical contact, such as shaking hands and touching the emperor, therefore it is necessary to use gloves to not touch the Emperor directly, and in the picture 5 that the ethics of meeting the emperor should not sit down to the right of the emperor, but it must be to the left of the Emperor, this represents that Japan highly upholds ethics, manners, and high respect, especially to the emperor, which at that time was considered as a deity. from the discussion above it is known that dialogue about the Japanese view of their emperor, and also supported by the scenes shown in this film. However, from some of the data analysis above shows that in fact, the perception of the Emperor as a god has begun to fade, supported by some scenes where some rules regarding the ethics of meeting the Emperor have been ignored by General Douglas MacArthur in picture 5 which he looked at directly to Emperor Hirohito's eyes. c. Amaterasu (Japanese Sun Goddess) In ancient times, before the worship of Amaterasu became popular, there was evidence that the sun myths other than the Amaterasu myth are prevalent among people in Japan. Meanwhile, Amaterasu is the main goddess in Shintoism. She is considered a goddess of the sun, she is also believed to be the ruler of the Heavenly Plateau, which is the realm of spirits. This goddess has also been identified as a key ancestor for all Japanese Emperors. Japanese emperors trace their ancestors to divine sources, although it can be said that there are certain differences between the divinity of the Japanese emperor and other rulers who claim divinity.

Picture 6. The painting of the sun goddess Amaterasu The picture shows the scene of a painting of the goddess Amaterasu on the wall, actually in this scene there are two actors who are talking each other, then the camera focuses on a wall display, a painting of the goddess Amaterasu, a position placed in the middle between the two actors where the camera blurred these two actors, and only increase the focus on the position of the painting being displayed subjectively. Therefore, this picture is said to use subjective point of view.

From the picture above, this scene shows the painting of the sun goddess Amaterasu who is very well known by the Japanese people especially about Shintoism, the painting that is displayed on the wall of Konoe's house actually represents or indicates that Konoe is a follower of Shintoism, which is already very much common for people living in the vicinity of the Japanese Empire, people who are close to the Emperor can also be said to be quite understanding about Shintoism especially regarding the sun goddess Amaterasu who is very closely related to the Japanese empire. In other words, people who are close to the emperor are required to understand Shintoism more than the Japanese people generally, because the background of the Japanese Empire itself is very closely related to Shintoism.

From the analysis in this section, it can be concluded how this film represents religious life in Japan. In daily life, Japanese people are generally

very influenced by existing religious practices and beliefs, the influence of Buddhism and Shintoism is very large where it is still practiced until currently.

In addition, the practice of religion in Japan also actually has a change in meaning, starting with the influx of influences from the outside world, one of them is religion such as Christianity, which after the World War II until now Japanese people are very open in practicing religion and belief, sometimes mixing several religious rituals and other beliefs. Although, quite contradictory as explained in the analysis of the data above that Japanese people generally admit they are born with Shinto religious beliefs, then adolescents and adults moved to pray to the Buddha and worship at the temple, then married in the Christian Church and joined in celebrating Christmas, and finally died by means of Buddhism (cremation). Likewise, the Japanese perspective on the Japanese emperor at the moment is undergoing a slight change, the Emperor's doctrine as deity begins to fade but does not diminish their respect for the emperor.

2. Japanese Cultural life, Traditions and Customs a. Japanese house Design Basically, traditional Japanese houses are fascinating and have a special relationship with nature. Wood is the preferred building material in Japan. The country has a deep understanding of and respect for nature. In extreme cases, the best land is given to gardens, houses and abandoned land. The entire Shoji walls can be pushed aside, creating an intimate union with the garden. The Engawa corridor modulates the interior and exterior of the house. In summer, it belongs to the outside, while in winter and night it is closed to form part of the interior space. Some of the dominant general aspects of Japanese house design will be divided into three types, namely: Roof House, Shoji Wall, Tatami.

Picture 7. Konoe’s House from outside view

The picture above shows a traditional Japanese house from the outside and displayed in full-frame without any blurring to the other object, it is clear that the frame discussed here used an objective point of view, where the overall focus are clearly opened without any blurring of focus on one of the objects in this scene. The house, trees, skies are quite objectively depicted.

Roof design on traditional Japanese architecture also shows a complex roof typology. But the various forms of roofing form basic roofs, pointed roofs and hinged roofs. All other forms of roof come from or are a combination of both. Kirizuma, hinged roofs (Yosemune) and their combined forms, pointed hips. The picture of the roof of Fumimaro Konoe's house is a type of roof (Yosemune) hinged roofs, and as explained in the second chapter, that traditional Japanese houses have never been separated from nature, in this picture also represents a place to sit (Seiza) and a tea ceremony generally designed to be close to natural landscapes or house garden around the house, in other perspective the picture above of Fumimaro Konoe’s house represents of high status of the owner, because of the actually, not all Japanese has a garden in their house, only high class/status person that has a spacious garden in their house.

Picture 8. Konoe’s Shoji Wall

The picture above shows Japanese Shoji Wall from the inside of the house and displayed in full-frame without any blurring to the other object, it is clear that the frame discussed here used an objective point of view, where the overall focus is clearly opened without any blurring of focus on one of the objects in this scene.

We have already known and seen a little and a lot about the types of walls typical of houses in Japan, but may not know what the names and functions of the walls are typical of traditional Japanese houses, the walls are better known in the Japanese term "Shoji" in a traditional Japanese house is a kind of screen that is more commonly made of wood panels and transparent papers which are traditionally used as sliding doors, room dividers and window covers. Simple in construction, elegant in its implementation, they provide customisable privacy and access while optimising light diffusion. The Fusuma screen is an alternative thick coated with a paper layer, the last layer becomes thick and handmade, in various patterns, textures and colours.

Picture 9. General Kajima’s Tatami

The picture above shows inside of the Japanese house, Shoji Wall, a Tatami pillow, Tatami mats the table displayed in full-frame without any blurring to the other object, it is clear that the frame discussed here used an objective point of view, where the overall focus are clearly opened without any blurring of focus on one of the objects in this scene.

Every traditional Japanese house has never been separated from natural elements. Generally, every traditional Japanese house has Tatami, a Japanese style as flooring. As Japan experiences a summer design associated with Tatami mats, it helps create a spacious and cool, traditional and comfortable environment that is most suitable for the country's climate. Tatami is a word derived from Japanese word "Tatamu" which means "folding or piling up," which is related to what you do with a mattress in this case, a Tatami mat. The Tatami mat is a room with a view of the bathroom, and this is also a kind of lifestyle, sleep and does other activities on the floor, such as family dinner, tea ceremony, and Seiza sit. b. Tea Ceremony Each nation has its own characteristics in drinking tea, Japan is a country which has a tea ceremony culture. In Japan, tea is not only served for personal, but also as a treat for guests visiting the house. The Japanese tea ceremony called Chanoyu, Sado or just Ocha in Japanese. This is a choreographic ritual for preparing and serving Japanese green tea, called Matcha, along with traditional Japanese sweets to balance the bitter taste of

tea. The tea in this ceremony means everyone's attention into a determined movement. The whole process is not about drinking tea, but about aesthetics, preparing a tea cup from someone's heart. The host always took the guests with every movement and movement. The placement of tea utensils is considered from the point of view of the guests (corners), especially the main guests called Shokyaku. In its function the tea ceremony is an attempt to respect the guests of the home-owner or the person who lives in the place visited.

Picture 10. General Kajima and General Bonner Fellers, Tea ceremony

The picture above there are two actors (General Kajima and General Bonner Fellers) sitting next together, it is clear that the frame discussed here used an objective point of view, where the overall focus is clearly opened without any blurring of focus on one of the objects in this scene. The decorations, wall displays, windows, two cups of tea and the table are quite objectively depicted.

Picture 11. Tea ceremony

The picture above shows a scene when the hands of an old lady serves a cup of tea as, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject that want to display, then close up zoom also used to better give a clearer impression.

Based on pictures above, after the tea ceremony usually the host will invite and start the conversations with the guests who come to their house. this can be seen in the picture above, the first picture shows when General Bonner Fellers visited Aya Shimada's uncle's house, which was welcomed by Aya Shimada’s uncle, this represented how Japanese people entertained guests who came to their house, but in the second picture, when General Bonner Fellers visited the house of Koichi Kido, he was received poorly by the homeowner who did not want to see him, and the tea ceremony was only offered by his house assistant. this shows that each person's banquet of guests who are supposed to be friendly but can also be vice versa, this depends on the level of their relationship with guests who come to visit. at least the analysis of the representation of these scenes shows that the Japanese habit of drinking tea is very strong, because tea can symbolise a sense of warmth and hospitality. c. Butsudan

Butsudan is a kind of religious ritual place for prayer that is placed in places that can be reached by people, as well as inside the house,

Butsudan is used for prayer tools whose function is like a central server of a computer network that connects and channels information from various sources, the authority of the family altar is used to realise and encode the teachings of Buddhist sects with which an affiliated family. Altars can be accessed by every family member, although usually only the head of the household will perform prayers, Butsudan is used to pray and honour the deceased family, the ash from (cremation) is placed on the table, also to pray to the Buddha and other gods.

Picture 12. Butsudan in the House

The same as the previous discussion about point of view analysis in this scene, there is a table with some typical Buddhist prayer tools. Nelson (312) in his article of Japanese Journal of Religious studies explained that Buddhist prayer tools table (Butsudan) is a kind of religious ritual place for prayer that is placed in place that can be reached by people. It is clear that the frame shown here used an objective point of view, where the whole scenes are clearly depicted without any blurring of focus on one of the objects in this scene. The details of the prayer tools are clearly shown here. In the other hand, it seems that this scene also uses the Close Up Zoom Technique in camera shooting, so that the audience is more focused on the object being displayed.

Butsudan shown in this scene is indicated as a representation of respect for ancestors or families who have died. Butsudan's function is not

only a tool for praying but also a tool for conveying mourning for deceased spirits, this can be seen by the presence of black incense and photographs of families who have died, because the different colours of incense indicate different functions. Red incense is usually used to pray and ask for best luck, while black incense is used to mourn and honour ancestral spirits. d. Seiza (Japanese Sitting) Sitting on the heel when "Seiza" is found early in the Heian period, and this posture is an important way for tea ceremonies in Japan, there are various sitting positions in daily life, and "Seiza" is a type of sitting for ceremonies, prayers and respect. That is not a posture for relaxation. However, in Japan eating is considered a kind of ceremony. Therefore, it is believed that, when we eat, we must sit in "Seiza" as with the ceremonial posture, prayer or respect. Sitting in "Seiza" is a distinctive posture of the Japanese and "Seiza" is the correct sitting that the Chinese characters of its name mean to the letter.

Picture 13. General Bonner Fellers and Konoe, Seiza Sitting

From the picture above, there are two actors (General Bonner Fellers and Konoe) sitting next together, it is clear that the frame discussed here used an objective point of view, where the overall focus is clearly opened without any blurring of focus on one of the objects in this scene quite objectively depicted.

Seiza is a type of sitting style in Japanese custom, "Seiza" or sitting on heels, which has become a representative of Japanese characteristics, which is almost the way of sitting in the Muslim prayer movement, but has a different essence. Tazaki (90) said that the diffusion of sitting in "Seiza" is bound to the development of the tea ceremony, "Seiza" is included within "Kiza" (sitting on one's heels with the legs bent) in a broad sense. The picture above shows two actors sitting on tatami cushions representing the type of Seiza sitting that looks more like Kiza. Meanwhile Kiza is divided into 3 types. First, the sitting with the heels of the feet and the toes touching the lower part of the thigh. Second, the sitting position shown in the picture above where the position of the toes holds the weight of the person sitting without touch the floor (only the tips of your toes). Third, a sitting position that is almost similar to the picture above but with an upright body position, as if to stand. e. Ojigi (Japanese Bowing) Every human group, ethnic groups and nations have a unique culture. Typical culture is the culture that exists in a society or certain nation and not in other nations. The typical culture of a nation is a national identity. Ojigi is a Japanese culture. Ojigi is the language attitude of Japanese society. Language attitude here refers to their body language attitude (Japanese society). In another meaning this attitude can refer to body shape, standing position that is upright, behaviour or gestures, and actions or actions carried out based on views (establishment, beliefs, or opinions) as a reaction to the existence of a thing or event. The Ojigi procedure is different, by sex and how many degrees the body is bow. Based on gender, generally men do Ojigi by placing both hands on side, while women put both hands on thighs.

Picture 14. General Bonner Feller gives a bow (Ojigi) to general Kajima

From the picture above, there are three actors (General Bonner Fellers, Aya Shimada and her Aunt), it is clear that the frame discussed here used an objective point of view, where the overall focus (the background, interior design) of this scene are clearly opened without any blurring of focus on one of the objects in this scene quite objectively depicted.

Picture 15. Minister Sekiya gives a bow (Ojigi) to the emperor

From the picture above, there are two actors (Minister Sekiya and General Bonner Fellers), it is clear that the frame discussed here used an objective point of view, where the overall focus are clearly opened without any blurring of focus on one of the objects, the decorations, home furniture in this scene quite objectively depicted.

Picture 16. A Japanese woman gives a bow (Ojigi) to the emperor

The picture above shows a scene of Japanese woman gives a bow (Ojigi) to the emperor, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject (the Emperor’s car) that want to display, then close up zoom and blur the woman to better give a clearer impression.

In this analysis of Ojigi, the writer inserting the three pictures above, all of which are scenes of people doing Ojigi. according to Mulyadi (5) in his Journal, he has classified Ojigi's function into eight main functions. As a greeting when meeting someone you know, when separating, and when introducing yourself to someone. As an expression of thanks after receiving something from someone. As an apology so make a mistake. As a greeting to welcome a guest at business place, like a shop or restaurant. As a greeting when starting and ending a martial art, for example aikido, karate, and others. Also done when entering and leaving the arena to practice or compete. As a greeting when starting and ending a performance art. As a greeting to the gods when it comes to pilgrimage or praying at Shinto shrines and Buddhas. As a greeting when welcoming guests. In the three pictures above the writer defined that this film implicitly wants to represent the way and differences of Ojigi in its functions, from the three scenes above, the first scene shows Ojigi performed by General Bonner Fellers which from the position it appears that the Ojigi he does is a type of Eshaku, done with

bend the body ± 15 degrees. How to bend casually it's around 1-2 seconds, used for greet people known but not familiar. Basically, besides Eshaku, there are also Keirei and Saikeirei. Examples of scenes shown in Figures 15 and 16 in the three images above are representations of Saikeirei bowing down to worship. Done by bending the body ± 45 degrees. This bowing method is used to show a deep feeling of regret when making a mistake. It is also used to show great respect for people with very high positions or high social status, for example the Emperor of Japan. At first this type of Ojigi was only used for gods and emperors. Then, there is Keirei namely bowing respectfully. Done by bending the body ± 30 degrees. How to bend, this is used to show respect to the employer or to people who are older, f. Sensu Fan Flat fans have been used in China and East Asia since ancient times as a means to create a gentle breeze, and were inspired by the shape of leaves or wings of birds. Then adapted and used in Japan in the 7th century. (Sensu) fan, or better known as portable folding fans, were originally homemade traditional handicrafts. The earliest version is made of thin slats of Japanese Hinoki wood chips stacked and tied together. Then, a paper fan is made by attaching paper to a split bamboo frame. Since then, many types of folding fans have been made with various materials, shapes and decorations over the times.

Picture 17. Sensu fan in Aya Shimada’s House

The picture shows the scene of a Sensu fan placed on the table and General Bonner Fellers, actually in this scene there are two actors who are talking each other General Bonner Fellers and Aya Shimada, then the camera focuses on a table with a Sensu fan decoration, a position placed behind General Bonner Fellers, where the camera blurred this actor, and only increase the focus on the position of the Sensu fan being displayed subjectively. Therefore, this picture used subjective point of view.

From the picture above, when General Bonner Fellers entered Aya Shimada's house, it was seen that there was a folding fan or better known as Sensu fan displayed. The unique thing about this scene is how this fan used by Aya as a decoration in her house. If we explore further, it can be said that the function of the fan is not only used as a tool to produce wind/breeze, but also can be used as an item that has an interesting aesthetic and artistic value, making it suitable to be used as decoration at home as represented on this scene. Then, the Sensu fan used by Aya Shimada as a table decoration is an Ogi type, according to Ishizumi (77) Sensu fan types in Japan are divided into two kinds, there are Uchiwa or more known as unfold fan types, and Ogi Generic folding fan made by wooden tablets or strips. g. Futon (Japanese Beds) Historically, the term 'Futon' refers to the traditional style of Japanese beds consisting of soft mattresses filled with cotton and blankets. They are flexible enough to be folded and stored during the day, allowing the bedroom to be used for other purposes. The bed that refers to the word futon consists of Shikibuton (lower mattress) and Kakebuton (thick bed covers). In addition, parts of the mattress can include blankets (Mofu), lighter summer blankets (Taoruketto), and pillows (Makura) which are often filled with beans, wheat husks, or plastic beads. Japanese futons are designed to be placed on the tatami floor, and are traditionally folded and stored in a cupboard during the day, allowing the tatami to breathe and the flexibility of room use. Futons need to be aired under the sun regularly,

especially if they are not stored during the day. The Japanese also 'hit' their futons on a regular basis using 'Tataki Futons', special tools usually made of bamboo, and similar to western carpet beaters.

Picture 18 General Bonner Fellers sleeps on the Futon From the picture above, there is General Bonner Fellers sleeps on the Futon, it is clear that the frame discussed here used an objective point of view, where the overall focus (the background, the futon) of this scene are clearly opened without any blurring of focus on one of the objects in this scene quite objectively depicted.

From the picture above displayed the use of Futon to sleep by General Bonner Fellers while staying at the General Kajima’s house, the use of futons to sleep represents the habits of Japanese people who really like to do their activities on the floor including for sleeping, other factors are the average of the minimalist design of Japanese houses have a little room in the house, that's why Japanese people use Futons to sleep because Futon is really simple and flexible to used. h. Katana (Japanese Sword) In ancient Japan's feudal times, noble warriors known as Samurai were indicted with the governor of the country and the protection of its people. Bound by a strict code of ethics known as Bushido, these fierce warriors served their masters faithfully during wars and peace. The Samurai mark is traditionally a pair of swords made with delicacy. Each bare forged

by skilled swordsmen and often intricately decorated to reflect each other's abilities individual warrior. A number of myths and legends surround the creation of these weapons. Made from the elements of the earth and giving life through fire and water, many swords believed to have great strength and their own spirit. Only those who are Samurai given the right to use these weapons, which they often use with extraordinary skills and scary efficiency. Armed with this elegant sword and other scary weapons, the Samurai defended the country from the threat of foreign invasion and civil war for more than fifteen hundred years. The sword used is better known as Katana, in its use Katana is divided into two types, there are: long Katana and short Katana, long Katana is used to fight the enemy massively, then short Katana is used for the Seppuku (Suicide) process which is usually done by soldiers when Samurai lost in battle, the service of a soldier rather than dying at the hands of an enemy is better to commit suicide, that's the philosophy embedded in Japanese soldiers, so that the culture and habits of the Seppuku are still carried out during World War II, and until now.

Picture 19. Emperor Soldiers hold the Katana

The picture above shows a scene of Japanese Emperor soldiers hold the Katana, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject (the Emperor’s

soldiers) that want to display, then close up zoom and blur the background to better give a clearer impression.

Picture 20. Katana in General Kajima’s house

The picture above shows a scene of General Bonner Fellers sitting on the chair in the General Kajima’s house, from this picture there are the main actor and other properties behind him. Meanwhile, the focus of this scene is the subject, then the properties behind as the backgrounds are blurred. The point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject (General Bonner Fellers) that want to display, then close up zoom to General Bonner Feller and blur the background to better give a clearer impression. But in the representation analysis, there is implicitly that this scene wanted to express the Katana. In addition, two pictures above displayed Katana, in picture 18 displayed a Japanese Imperial Palace guard soldier who is holding a Katana beside him, the Katana he is holding is a long Katana that is indeed used for anticipating enemies, then in picture 19 displayed some Katana that are placed in the corner General Kajima's room, from the two pictures above actually represented how the Katana is related to Japanese soldiers, because basically besides being used for war, Katana can be used as a symbol of the social status of its owner, in which the Soldier is seen as a person who has

a higher social status than ordinary people in Japan, and it is supported by Morimoto (2) in his article said that at present the Katana functions as a warning to noble warriors who have protected the nation with their lives for years ago and this ancient Japanese sword now considered an official national treasure. i. Origami (Folding Papers) The act of folding paper into figures and shaped ornaments is a rather direct definition of Origami, it literally means paper that is folded. Which is a fairly new term that began in the Showa period (1926). Before that, Origami was also called Orisue or Oritaka according to Edo period texts. The act of folding and cutting paper basically has a deeper meaning in Japanese culture. Along with Kirigami (paper cutting) and Kumigami (paper assembly), Origami is one of several types of paper manipulation that creates new forms. Origami considered as very simple forms to very complex works of art. In the recent past, Origami was considered a form of children's entertainment, but nowadays there are complex folds and many things to be learned in this folding art for all ages.

Picture 21. An Origami in Aya Shimada’s house The picture above shows a scene when the hand of General Bonner Feller keep a folding paper as known as Origami, the point of view used in this picture is clearly visible subjective point of view where the camera

focuses on the subject that want to display, then close up zoom and blur the background to better give a clearer impression.

The picture above displayed an Origami in the Aya Shimada’s house, the shape of this Origami could not be described or imitated as some or new stuff, but basically making an Origami is beyond of the creator’s imagination itself, some Origami has imitated of real forms, some Origami has undescribed or even new forms. Meanwhile, this picture represents that Origami is not only a folding papers art, but also as a new cultural invention. Since in merging east and west, Japan adopted a school system model from Germany that had incorporated origami into the teaching process in its class. However, based on The History of Japanese Origami (2) concluded that Origami became popular again when it was realised that the fields in origami formed three-dimensional shapes that were important in the teaching of geometry. Origami can be used to appreciate how aircraft can be transformed into solids, which is important today in the computer graphics industry. Along with the times, Origami has been found as a therapy for patients with mental and physical disorders because it involves the mind and mind body. j. Shodo Shodo or Japanese Calligraphy is a familiar part of Japanese life. Introduced from China around the eighth century, over the centuries Shodo evolved in distinctively Japanese ways, becoming firmly rooted in the culture especially in Japan. The adaptation and use of the Kanji characters from China are inseparable from life in Japan, allowing calligraphy (Shodo) to be very popular in this country, even it has become one of its own cultures and traditions. Shodo is written using the Kanji letters which has positive meanings, and is also used to write the names of Japanese people who almost all them have names with Kanji.

Picture 22. A Shodo Calligraphy on Konoe’s house wall The picture shows the scene of a painting of Shodo Calligraphy on Konoe’s house wall, while the camera focuses on a wall display, a position placed beside General Bonner Fellers where the camera blurred this actor, and only increase the focus on the position of the painting being displayed subjectively. Therefore, this picture is said to use subjective point of view.

Picture 23. A Shodo Calligraphy on General Kajima’s house wall The picture shows the scene of a painting of Shodo Calligraphy on General Kajima’s house wall, while the camera focuses on General Kajima where the camera blurred the painting, even the focus of this scene is on General Kajima, but the position of the painting being displayed subjectively and could be analyse. Therefore, this picture is said to use subjective point of view.

Picture 24. Fudepens in General Kajima’s house The pictures above displayed Shodo calligraphy in Konoe's house and General Kajima's house. In Japan, (Shodo) calligraphy is usually used as home decoration on the walls of every Japanese house as shown in the two pictures above, Shodo is a writing that has the meaning of hope and prayer, the unique calligraphy is also sometimes written on some of the Amulet worksheets and Fudepen, then kept by the Japanese people.

Shodo's representation in the scenes above is a parable of written culture in Japan. People who better understand the Kanji letters will write Shodo calligraphy using unusual Kanji letters, this usually indicates that the person really understands Regarding Shodo and related matters, Shodo displayed in the two scenes above is an uncommon form of Shodo. While, Konoe and General Kajima are representations of Japanese people who understand the art of Shodo calligraphy and literacy, according to Japanese Culture Now on Shodo an Old and New Form of Self-Expression (1) defined that Shodo involves not only improving technique, but pursuing beauty and self-understanding. This is a pursuit with a long tradition that has won new attention today as a means of self-expression, this can be seen from the choice of words used in their calligraphy, words that can still be understood, then the depiction of the Fudepens scene owned by General Kajima represents that he is one of the artists who understands Shodo's writing. because only certain people can write their own Shodo calligraphy.

k. Hotokebashi/Tatebashi Basically, Hotokebashi is Japanese Manners when eating, this is also the norm they do, Hotokebashi is a taboo or don't do it while eating rice using chopsticks, (Chopsticks or O-hashi/Bashi in Japanese are used to eat most kinds of food or cuisine). From term Tate that comes from the word Tateru, which means standing. Hotoke means Buddha or spirit, and therefore symbolises how incense is offered to spirits. This means don't stab your chopsticks in your rice bowl to make it stand straight. This movement was carried out during the funeral, so it was considered unprofitable.

Picture 25. Hotokebashi on Butsudan Table The picture above shows a scene when General Bonner Fellers hand keep an incense on a Butsudan table, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject that want to display, then close up zoom and blur the actor’s hand and focuses to a couple of chopsticks and a bowl of rise on the Butsudan table to better give a clearer impression.

Meanwhile, the picture above displayed how Hotokebashi is normally done in honour of the dead typically involving burial or cremation. which is usually placed on the Butsudan table with some incense and other prayer tools.

l. Kanji in every native Japanese name Kanji is basically from China, it is Chinese characters, together with Chinese culture, come to Japan at the fourth or the fifth century, when Japanese did not yet have a writing system. That Chinese characters are adopted to represent in writing in Japanese language. Initially, the Chinese characters were used phonetically to represent something similar Japanese voice, regardless of the meaning of each Chinese character, but over time the Kanji characters are adapted to Japanese pronunciation, so there are differences. the use of the Kanji letter itself is very widespread used by all Japanese people by blending with the Hiragana and Katakana letters, then in other uses the Kanji is used to write the names of Japanese people, generally the native Japanese names must be written using Kanji. Therefore, sometimes for non-Japanese people will feel confused about this, the use of the Kanji letter for the names of these Japanese people themselves is a difference with foreign names that do not have Japanese roots.

Picture 26. Several Japanese people names written in Kanji The picture above clearly shows that the point of view used in this scene is the Director's interpretive point of view. Boggs (135) explained that from the Director's interpretive point of view We are consciously aware that the director wants us to see the action in some unusual way, which in this scene can be determined by extreme zoom is clearly visible and is usually used by the director to give its own purpose to an object or subject displayed in a frame.

Meanwhile, the picture above displayed how the names of Japanese people are written using Kanji letters, the names written in Kanji must be the original or native Japanese names, with their family names added. Therefore, for non-Japanese foreigners' names will be written using Katakana letters, which are Japanese letters specifically for writing foreign terms. the use of Kanji on each name of native Japanese people other than to facilitate determining which is the original name of Japan and a name that is not from Japan, is as their identity. In general, the use of the Kanji in each use of the name of Japanese native people is to facilitate writing their names through their surnames that were previously written with Hiragana characters were less efficient, therefore the Japanese adopted the Kanji that were originally Chinese characters. Although Kanji has the same form as Chinese characters, the pronunciation of each letter is different because Kanji in Japan is a new form of modification from Chinese and it was adjusted with the Japanese pronunciation. m. The Flag of Rising Sun

Each country has a flag that represents a characteristic or a watchword that is believed. Same is the case with the land of the rising sun, Japan. This country's flag has a unique colour with a white base and a red circle in the middle. Not a striking red colour, but red like crimson red or violet red. The symbol represents the rising sun in the east, which is why Japan is also referred to as the Land of the Rising Sun. The official name of the Japanese flag is Nissho-ki, but most people say it as Hinomaru or which means sun circle. The white colour on the Japanese flag symbolises the honesty and integrity adopted by the Japanese people. the red circle on the Japanese flag symbolises sincerity and represents the Goddess Amaterasu, the goddess of the sun in Japanese mythology. The most important goddess in Shintoism is said to be considered the founder of Japan and the ancestor of the emperors in Japan.

Picture 27. A Flag of Rising Sun of Japan The picture above shows a Japanese soldier looking at the Japanese national flag. In the analysis of this scene at a glance, it will be seen that this uses an objective point of view, in which all objects and subjects in this frame look very clear without any object or subject being blurred. But actually, this scene is more precisely using the Director's interpretive point of view, this is because the angle used by the director in taking pictures in this scene, low angle is clearly visible by giving another impression on the flag that fluttered and a soldier who was looking it. Because, from the Director's interpretive point of view We are consciously aware that the director wants us to see the action in some unusual way. Meanwhile, the flag displayed on the picture above called as Kyokujitsu-ki, it was the flag of the Japanese army during World War II as a symbol of victory and represented that Japan is a powerful country, and it was used as a national flag of Japan in 1870. Therefore at this time, the use of this type of Japanese flag is rarely found in public places, because some policies made by the Japanese government consider this flag to be impressed politically and sometimes represent a re-era of World War II, so that Kyokujitsu-ki, use is currently very limited, but sometimes it can also be found in some international sports matches, the use of this flag is sometimes used by supporters to encourage the sports participants from Japan.

n. Japanese Identical Colours Several countries and nations have their own philosophies for the colours they determine in their daily lives, such as customs or traditions in Japan that are identical to the use of brown, but not only that, this film also shows some colours that have a deep philosophy to be analysed, like some of the scenes contained in this film.

Picture 28. Inside of Japanese Emperor’s Palace

From the picture above, there are two actors (Minister Sekiya and General Bonner Fellers) sitting next together, it is clear that the frame discussed here used an objective point of view, where the overall focus are clearly opened without any blurring of focus on one of the objects in this scene quite objectively depicted.

Japanese gold colour, this colour represented as a very glamorous colour, a symbol of wealth and prestige, the use of gold is only associated with people who are respected, and high level, this can be seen in the picture above which shows the decoration inside the Japanese Emperor's palace is coated with ornaments and the colours of the walls are gold. This philosophy has generally been very well understood by Japanese people long time ago.

Picture 29. Identical Brown Colour used by Japanese people

In this picture General Bonner Fellers and Aya Shimada are on the train heading to her uncle's house, in this frame the throng of passengers on the train are clearly visible without any motion blur with a wide camera angle, it is clear that the frame discussed here used an objective point of view, where the overall focus are clearly opened without any blurring of focus on one of the objects in this scene quite objectively depicted.

The picture above displayed the dominance of the colour of brown in the lives of Japanese people are very bound, the Japanese people generally like the colour of brown based on its reality with nature, almost all home furnishings or various items use brown, brown colour seems natural and often associated with wooden objects in Japanese society. Therefore, almost all Japanese people are very common with that colour.

Picture 30. A Box of Black Incense

The picture above shows a scene when General Bonner Fellers hand keep an incense on a Butsudan table, the point of view used in this picture is clearly visible subjective point of view where the camera focuses on the subject that want to display, then close up zoom and blur the actor’s hand and focuses to a couple of chopsticks and a bowl of rise on the Butsudan table to better give a clearer impression.

Meanwhile, black colour for Japanese people is considered as a colour in a state of mourning or being sad, but on the other hand if the black colour actually has other meanings such as elegance. like the picture above that displayed a box of black incense, this incense actually represents in the Japanese tradition has several meanings, there are two types of incense, such as red incense used to pray and wish good luck, while this black incense is used for mourning or being mourning.

Picture 31. Identical Green Colour Bamboo Trees

The picture shows the scene of a couple of actors (Aya Shimada and General Bonner Fellers) run together in Bamboo forest, while the camera focuses on Bamboo trees in the forest where the camera blurred the actors, even the focus of this scene is on the Bamboo trees, it still allows the focus of the audience to be on the two actors, on the other hand this scene can be analysed both, but in this case the writer takes a more subjective perspective on the bamboo tree scene. Therefore, this picture is said to use subjective point of view.

Meanwhile, the picture above not only displayed the green colour of Bamboo trees, but also a form of representation of Japan and nature, Green is very popular in Japan because it looks comfortable and fresh. This colour is often associated with leaves and trees or nature, Japan also celebrates Green Day every May 4th, as an offering to respect vegetation, nature and leaves. o. Japanese Clothes 1. Kimono

Kimono. In the broadest sense, the Japanese word 'Kimono' means 'clothing', and is usually applied to traditional and special clothing which is Japanese national clothing, shaped like a T, with rectangular arms, which are wrapped around the body. Kimono, worn by men and women, made of vertical fabric pieces sewn together and held with sling (Obi) tied to the

hips. The term 'Kimono' is basically used to distinguish traditional Japanese robes from western-style clothing (Yofuku) and does not include a short jacket (Haori) worn over a Kimono and underwear (Juban). Until the end of the World War II, most Japanese women were still wearing Kimono. However, today the Kimono is only used for special occasions. The official male Kimono type is made of black silk (Habutae) where the only decoration is the family emblem, printed white on the back, on each front side, and on the arm.

Picture 32. General Kajima wearing Men’s Kimono

The picture above shows a scene General Kajima wearing Men’s Kimono is walking outside the house. Although, in this analysis the cursory look will be seen using an objective point of view, but this is not quite right because in this scene the plant near the right corner of the frame is blurred, therefore the point of view used in this picture is a clearly visible subjective point of view where the camera focuses on the subject (General Kajima) that wants to display, then blurs the plant to make more focuses on him.

Picture 33. A Japanese woman wearing Kimono

The picture above shows a scene when a female teacher that wearing Kimono is instructing students to enter the classroom, the point of view used in this picture is a clearly visible subjective point of view where the camera focuses on the subject (the female teacher) who wants to displayed, then blur the students. The aim by using this point of view is to give longer focus to the clothes that the female teacher wears (Kimono).

Meanwhile, two pictures above displayed the differences in the use of Kimono in Men and Women, the Kimono used by General Kajima is dominated by dark colours, while in the picture of women who wear Kimonos that are quite bright and colourful with various patterns and patterns, this represents that the use of Kimono is basically still based on the choice of colours used by men or women, which is still a common stereotype.

2. Japanese School Uniforms

Japanese School Uniforms. Traditional Japanese school uniforms in the modern era are based on military uniforms from ancient Europe. The male and female version is very common in the present, in men's uniforms. Easy to analyse it. The main feature of this uniform is the collar that stands on the neck of a man and is called the Gakuran inspired by 19th century Prussian army uniforms. At that time, it was accompanied by the wear of

hats for each student, but nowadays only elementary school students wear a hat. Then, regarding women's school uniforms. Inspired by sailor suits, women's school uniforms are based on ancient British navy uniforms. Unlike Gakuran which is fairly consistent from school to school, sailor clothing can vary slightly in each school, but generally has similarities, namely the type of uniform that resembles British navy sailor uniforms.

Picture 34. Two Girls wearing Japanese school uniform

The picture above shows a scene when a female teacher that wearing Kimono is instructing students to enter the classroom, the point of view used in this picture is a clearly visible subjective point of view where the camera focuses on the subject (the students) who wants to displayed, then blur the teacher. The aim by using this point of view is to give longer focus to the clothes that the female students wears.

Picture 35. Japanese boys wearing Gakuran (Japanese men’s uniform)

The picture above shows a scene when some male students wearing Gakuran (Men's school uniform) is throwing stones at General Bonner Fellers which are not included in the frame. Although, in this analysis the cursory look will be seen using an objective point of view, but this is not quite right because in this scene some crowds of people are watching the male student is blurred, therefore the point of view used in this picture is a clearly visible subjective point of view where the camera focuses on the subject (male students) that wants to display, then blurs the female students and the people behind the male students.

Meanwhile, two pictures above displayed female and male students using Japanese school uniforms adopted and inspired by western countries, this actually represents that the initial use of these types of school uniforms is a form of opening of Japan with the outside world, where Japan was previously a closed country and isolated from the outside world except with China and Korea, we can also assume other meanings that in fact the selection of these two types of uniforms indicates that Japanese people interested to something new and unique.

The results based on the analysis of Japanese cultures in the film, Emperor film represented religion and beliefs of Japanese and cultural traditions including Japanese house design, Tea ceremony, Butsudan, Seiza, Ojigi, Sensu Fan, Futon, Katana, Origami, Shodo, Hotokebashi, Kanji, Japanese Rising Sun Flag, Identical Japanese Colours, Japanese clothes Kimono and Japanese school uniforms that are related to description of those in reality. After the writer analysed all the data contained in this chapter, it is found that the representation of Japanese cultures in this film is very important, the explanation that has been explained in each discussion will make it easier for the readers to understand Japanese cultures better, especially those that have been shown in this film, the readers who do not understand or know little about Japanese culture will certainly be greatly helped of this analysis. Then, in the analysis of this data the writer also found another result regarding other purposes and objectives of this film, such as the case of Low and

High culture implicitly presented. After in-depth analysis the writer also concluded that the director of this film, Peter Webber actually conveyed implicitly to this film that Japan is a country that has a High Culture, this was confirmed in the scene where General Kajima stated about Tatemae the way seems appear, Honne the way they live are. (Emperor film 2012) (01:05:20-01:05:50) that indicates Japan is a country with a High Culture, as has been explained by the writer about the analysis of research on this film and this is in line with the statement of American anthropologist, Edward T Hall (1977) who stated that Japan as one of the countries with the High Culture.

CHAPTER IV CONCLUSION AND SUGGESTION

A. Conclusion Emperor is a film by Lionsgate and Roadside Attractions, directed by Peter Webber, released in 2012, is the film with the theme of Japanese cultures with. This research revealed how the Japanese cultures represented through the Post-World War II film such as Emperor. This film talked about Japan and Japanese cultures from the beginning until the ends. Meanwhile, when people watch this film, they probably indirectly know about Japanese cultures, but only on the surface. So that this research has explained about Japanese cultures that explicitly and implicitly displayed in the film. These explanations divided into two parts. First, determine the Cinematography Points of View used by each scene, second, analyse the Representation of Japanese Cultures.

In conclusion, the film represented of Japanese cultures is through appearances, dialogues, actions, habits, behaviour and so on. From the findings in previous chapter all the data were collected and analysed based on those two scopes. First is analysis of representation about Japanese beliefs. Second is analysis of representation about Japanese cultural life, traditions, customs which is divided into fifteen categories: Japanese house design, Tea ceremony, Butsudan, Seiza, Ojigi, Sensu Fan, Futon, Katana, Origami, Shodo, Hotokebashi, Kanji, Japanese Rising Sun Flag, Identical Japanese Colours, Japanese clothes Kimono and Japanese school uniforms. Slightly analysed from the previous chapter, all data that founded about Japan and the cultures of Japan are matched with the film. It means, Emperor film is doing well for representing Japan. This film mostly used subjective point of view. This is because the director of this film wanted to show more intensely about what he wanted to show. Then, the depiction of Japanese representation in this study also showed that things about Japan shown in this film are generally good things and have their own meaning and philosophy and Japan is described as a country that has a very strong rooted of cultural history, this can be seen from how many elements of Japanese cultures are displayed. However, not all of them are pure

Japanese cultures, but there are some cultures that are adapted from some cultures outside Japan and cultural innovations. Besides discussing the Representation of Japanese cultures shown in this film, the writer found the purposes and objectives of this film, such as the case of High culture implicitly presented. After in-depth analysis the writer also concluded that the director of this film Peter Webber actually conveyed implicitly to this film that Japan is a country with High Culture.

B. Suggestion Based on the analysis in previous chapter, Emperor film is quite interesting film work. This film designated strong motif of Japanese cultures which is represented within plot and visually stunning effort. Emperor film can be analysed with the different theories of literary work such as Orientalism, political issue of United States and Japan after Japan Surrendered, or even specifically analyse the representation of Emperor Hirohito self-identity. There are so many contained builds up from the film beside the cultural values, hopefully the other researcher interests to continue the research from this corpus Emperor.

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