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<DIV><FONT face=Arial>Dear Abraheme,</FONT></DIV>
<DIV><FONT face=Arial>The trouble with posting a question on the list is that
you are more likely to have people stretching your idea out than narrowing it
for you, as you asked!</FONT></DIV>
<DIV><FONT face=Arial>Glancing down the very patchy list of films from the 80s
that I've seen, there seems to be something of a thread of relationships with
elder members of the family. Imamura's <SPAN lang=EN-US
style="FONT-SIZE: 12pt; FONT-FAMILY: 'Times New Roman'; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-US; mso-fareast-language: JA; mso-bidi-language: AR-SA"><EM>Narayama
bushikō</EM></SPAN>, of course, but also Haneda's <EM>Hyachine no fu</EM>, and
Kobayashi's <EM>Shokutaku no ai ie</EM>, deals with the relationship of a father
to his son's actions. <EM>Ran</EM>, of course, is a re-working of
<EM>Lear</EM>. And isn't the Tokugawa in Teshigahara's <SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: JA; mso-bidi-language: AR-SA; mso-bidi-font-family: 'Times New Roman'"><EM>Rikyū</EM>,
rebelling against a father-figure (whilst also standing for more recent
political follies).</SPAN></FONT></DIV>
<DIV><FONT face=Arial><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: JA; mso-bidi-language: AR-SA; mso-bidi-font-family: 'Times New Roman'">But
good luck with finding your own path,</SPAN></FONT></DIV>
<DIV><FONT face=Arial><SPAN
style="FONT-SIZE: 12pt; FONT-FAMILY: Arial; mso-fareast-font-family: 'MS Mincho'; mso-ansi-language: EN-GB; mso-fareast-language: JA; mso-bidi-language: AR-SA; mso-bidi-font-family: 'Times New Roman'">Roger</SPAN></FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=abe.hassan2@gmail.com href="mailto:abe.hassan2@gmail.com">Abraheme
Hassan</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=KineJapan@lists.acs.ohio-state.edu
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Tuesday, February 24, 2009 11:51
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Ignore First Email,</DIV>
<DIV><BR></DIV>To all list members, <BR><BR>This is my present thesis.<BR><BR>
<BLOCKQUOTE class=gmail_quote
style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">
Japanese Identity and Cultural Politics in the
1980s<BR><BR> From 1900 to the end of the Taisho era
(1926), Japanese cinema was solely made for, and by the Japanese. As Japan
modernized due to Western influence after the Taisho era, Japanese cinema
bloomed with a variety of genres, and their national cinema had to appeal to
foreign audiences, not only for domestic viewing and commercial success.
<BR> The period to be examined is the 1980s.
Following numerous cultural, political and economic transformations after
WWII and prior to the massive 1989 political and economic reforms, there are
a number of themes related to Japanese identity that I propose to discuss
and analyze in my thesis. Through the mediums of film and literature of the
1980s, I will study specific linguistic, social and psychological standards
and contradictions of Japanese society. Among others I will be examining the
works of Wakamatsu Koji, Oshima Nagisa and Imamura Shohei, and selected
writers like Murakami Haruki, Yamamoto Michiki and Oe Kenzaburo,
etc.<BR> I plan to pursue and acquire the
information through library research, interpretation of films, literature,
and interviews. I will present my research findings in a minimum thirty-page
paper. </BLOCKQUOTE><BR>This thesis is way to large to tackle. And I have
decided to narrow down to family structure through film and literature in
Japan during modern times. However, I can not decide on the time frame of
analyzing the family structure, perhaps from 1989 onwards because of major
economic and political reforms?<BR><BR>The only films that come mind and I
haven't been in touch with contemporary Japanese films, is "Nobody Knows" by
Hirokazu Nikeeda and Cafe Lumiere by Tsai Ming Liang ( which was a tribute to
Ozu, says Liang)...<BR><BR>Any suggestions about films, books, and on the
thesis would be highly
appreciated.<BR><BR><BR>Sincerely,<BR><BR>Abraheme Hassan
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