Abstract
The Toei period films of the late 1950s and early 1960s stand out in the history of postwar jidaigeki. Central to the aesthetics of gender in Toei jidaigekiis romance. The most popular singing star of 1950s Japan, Misora Hibari occupied the center of the star-driven Toei film culture. Sawashima Tadashi was among the up-and-coming directors who debuted in 1958, along with Masumura Yasuzo (Daiei), Nakahira Ko (Nikkatsu), and Imamura Shohei (Nikkatsu). In 1961, Okamoto Taro published an article on the new generations of postwar jidaigeki directors in Jidai Eiga, a monthly journal devoted to jidaigeki. As in the case of the dream sequence in Hibari's Ishimatsu, the ending of Samurai Vagabond falls short of the assumption that the experience of romantic love must be inherently oriented toward consummation.
Original language | English (US) |
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Title of host publication | A Companion to Japanese Cinema |
Publisher | Wiley-Blackwell |
Pages | 130-148 |
Number of pages | 19 |
ISBN (Print) | 9781118955352 |
DOIs | |
State | Published - Apr 22 2022 |
Externally published | Yes |
All Science Journal Classification (ASJC) codes
- General Arts and Humanities
Keywords
- Gender
- Hibari's Ishimatsu
- Romantic love
- Samurai Vagabond
- Sawashima Tadashi
- Toei film culture
- Toei jidaigeki