<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Thank you Faith, Melek, Roger and others who responded to my initial inquiry regarding the idea, appearance and use of nostalgia. Yamanaka's row-houses in "Nijou Kamifusen" is indeed an interesting portrayal of Edo community to a possibly nostalgic early Showa audience. Having pointed me in the right direction regarding pre-war history of nostalgic motifs for the countryside in film and literature, I wonder if might shift the discussion a bit, specifically to the post-war. <div><br class="webkit-block-placeholder"></div><div>If we see the portrayal of the countryside as a nostalgic motif common to Japanese art and cinema (and arguably in other countries as well), how do we see the use of nostalgia change in the postwar, in the 1960s, 80s, and now? For Yamada Yoji, "Tora-san" was more-or-less portraying a remaining pocket of shitamachi in Tokyo. The significance seems to be that he was emphasizing/fantasizing a temporally co-existent patch of culture and while it is difficult to judge how nostalgic audiences of the 1960s felt toward the urban shitamachi community of Shibamata, it seems safe to say that Tora-san now seems a campy, stylized Shochiku world and definitely a cinematic artifact to current audiences. </div><div><br class="webkit-block-placeholder"></div><div>What happens when this once contemporary cinematic world of the Showa 30s is revived as a popular historical destination in recent years? Especially, when a historical-visual relationship to the past is now understood through cinema of the time? With the recent increase in popularity of portrayals of the 1960s, a decade I am particularly interested in, I wanted to toss this out there for some your thoughts.</div><div><br class="webkit-block-placeholder"></div><div>So, what makes postwar nostalgia different, what makes this more recent portrayals of nostalgia distinct?</div><div><br class="webkit-block-placeholder"></div><div>Thank you very much for your help, </div><div><br class="webkit-block-placeholder"></div><div><br></div><div>Ken</div><div><br></div><br><br><div apple-content-edited="true"> <span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><div style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><span class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><div>Ken Shima</div><div>Nihon Daigaku, Literature Theory Dept.</div><div><br class="khtml-block-placeholder"></div><div><br class="khtml-block-placeholder"></div><br class="Apple-interchange-newline"></span></span></div></span> </div><br></body></html>