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Reimagining the European FamilyJapanese German Kinships: Imagining Postwar Masculinity

Reimagining the European Family: Japanese German Kinships: Imagining Postwar Masculinity [During the first decade of the twenty-first century, two films used Tokyo as host to unlikely love stories, complicated by intergenerational family relationships and extra-kinship bonds. Sofia Coppola’s Lost in Translation (2003) and Doris Dörrie’s 2008 film Kirschblüten (Hanami or Cherry Blossoms) depict contemporary Tokyo as a location for both tourist alienation and possible intimacy. The films share other ground as well. Both directors wrote the screenplay for these intergenerational relationships: both of which in some ways pay tribute to and/or reference to Yasujiro Ozu’s Tokyo Story (1953). For the German feminist director, best known for her 1985 comedy Männer (Men), this production marks the third film set at least in part in Japan. Coppola’s film, for which she won an Oscar (best writing/original screenplay), inhabits the high-tech and fashionable spaces of Tokyo, where a middle-aged actor (Bill Murray) and neglected young wife (Scarlett Johansson) meet and find friendship in a contingent setting, where they experience alienation from both their partners and their immediate environment. Lost in Translation , described as a “sophomore smash” for Coppola, embodies the “lost-and-found” experience of urban postmodernism and personal discovery. By contrast, Dörrie’s film, also award-winning and a box-office success in its own right, more directly inhabits the widening gap between parents and children that grounded Ozu’s inaugural work, which is acknowledged to be the “crown jewel” in his oeuvre (Wrigley 2003).] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Reimagining the European FamilyJapanese German Kinships: Imagining Postwar Masculinity

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Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2013
ISBN
978-1-349-47585-8
Pages
109 –131
DOI
10.1057/9781137371843_5
Publisher site
See Chapter on Publisher Site

Abstract

[During the first decade of the twenty-first century, two films used Tokyo as host to unlikely love stories, complicated by intergenerational family relationships and extra-kinship bonds. Sofia Coppola’s Lost in Translation (2003) and Doris Dörrie’s 2008 film Kirschblüten (Hanami or Cherry Blossoms) depict contemporary Tokyo as a location for both tourist alienation and possible intimacy. The films share other ground as well. Both directors wrote the screenplay for these intergenerational relationships: both of which in some ways pay tribute to and/or reference to Yasujiro Ozu’s Tokyo Story (1953). For the German feminist director, best known for her 1985 comedy Männer (Men), this production marks the third film set at least in part in Japan. Coppola’s film, for which she won an Oscar (best writing/original screenplay), inhabits the high-tech and fashionable spaces of Tokyo, where a middle-aged actor (Bill Murray) and neglected young wife (Scarlett Johansson) meet and find friendship in a contingent setting, where they experience alienation from both their partners and their immediate environment. Lost in Translation , described as a “sophomore smash” for Coppola, embodies the “lost-and-found” experience of urban postmodernism and personal discovery. By contrast, Dörrie’s film, also award-winning and a box-office success in its own right, more directly inhabits the widening gap between parents and children that grounded Ozu’s inaugural work, which is acknowledged to be the “crown jewel” in his oeuvre (Wrigley 2003).]

Published: Oct 28, 2015

Keywords: Nuclear Family; Work Ethic; Hegemonic Masculinity; Emotional Clarity; German Family

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