Women and War:
The JapaneseFilm Image
William B. Hauser
Although feature films dealing with war, either as conscious wartime
propaganda or as postwar efforts at apology or rationalization, have ob-
vious consequences for men, they communicate to and about women as
well. War films, as both official and unofficial statements about society
at war, include important messages not merely on military service,
patriotism, and nationalism, but also on women, the family, and the
special roles that women must play to hold a culture together during
the turmoil of
to achieve. Key to under-
standing the cultural politics of Korean-Japanesefilm exchange was the heated
and protracted controversy surrounding the concept of “Japanese color” (waesaek
in Korean), the perceived threat of the encroachment of Japanese popular cul-
ture into South Korean society, that persisted throughout the 1960s. The increas-
ing cultural visibility of Japan gave rise to this defensive discourse, which tied
directly into South Korea’s troubled relationship with its colonial legacy. Further,
the repression of postcolonial reflection on
's Factory Work Under
State Management in Japan in the 1930s and 1940s
Yoshiko Miyake I 267
13. Women and War: The JapaneseFilm Image
William B. Mauser I 296
Jane Caplan I 315
Glossary / 323
Contributors / 325
Index / 329
: Indiana University Press, 1992.
Anderson, Joseph L., and Donald Richie. The JapaneseFilm: Art and Industry.
Expanded ed. Princeton, NJ: Princeton University Press, 1982.
Bauman, Zygmunt. Liquid Modernity. Cambridge, U.K.: Polity Press, 2000.
Bean, Jennifer M., and Diane Negra, eds. A Feminist Reader in Early Cinema.
Durham, NC: Duke University Press, 2002.
Berman, Art. Preface to Modernism. Urbana: University of Illinois Press, 1994.
Berman, Marshall. All That Is Solid Melts into Air: The Experience of Moder-
nity. New York: Simon and Schuster, 1982.
the historian Chiba Nobuo has, as the first one “to light the signal fire
for pure film dramas.”1 Like many other Japanese intellectuals, Gonda was
highly dissatisfied with the Japanesefilm product, commenting, “Be it the
photography, or the dramatic construction, or the use of props, Japanesefilms are still utterly incapable of being equal to foreign pictures” (Prin-
ciples, 386). Gonda was also a strong influence, Chiba argues, on the main
organ for the Pure Film Movement, Kinema Record.2
Arguments that fundamentally supported the position of the Pure Film