Japanese Religion in Film

[Bernardi-Buralli]

> From: Aaron Gerow <aaron.gerow at yale.edu>

> Many have been citing cases in which religion (its institutions or
> symbols) is represented in film, like the sadistic nun films.
> Accumulating such a list is important if one wants to think about
> issues of representation, but one could argue that the issue of
> representing religion in film is different from the issue of embodying
> religiosity in cinema.

>. . .  of religion that appear in Japanese film, especially much genre cinema,
> are less embodiments of religiosity (of the beliefs of filmmakers or
> audiences) than simple genre conventions--part of the system of
> suspending disbelief? Especially if we accept the claim that
> contemporary Japanese show a low commitment to religious belief,
> religion in Japanese film might serve other purposes (ideological,
> historical, political, etc.) than to manifest faith or belief.
> 
> If that is the case, which films can we cite that truly embody Japanese
> religiosity? What about those films distinguishes them from those that
> use religion merely as narrative fodder? (And just why do so many films
> seem to use religion as narrative material even if the filmmakers and
> audience might not necessarily believe in that religion?)


True, "religion" as it has been mentioned in this thread has been a very
broad concept, which is why titles have been flying right and left.

There is the fundamental problem of teasing apart "religion" and
"spirituality," both of which turn on the fundamental belief in a power
greater than humankind, but can be manifested in (and practiced) in so many
different, even conflicting ways. I fell asleep last night (OK, so I have no
life...) thinking of the sub-narrative involving the postwar new religion
craze in Naruse's (based on Hayashi Fumiko's) _Ukigumo_(1955). However we
want to categorize the "role" of "religion" in that film, it is an example
worth citing if the context is a study of Japanese religious movements, or
Japanese religiosity (Japanese religious beliefs, religion as practiced by
Japanese) at that particular historical moment--although the film in itself
does not "embody religiosity," arguably. (It is not a film born of the
religious beliefs of Naruse, but it does make a statement about religion).

Miyazawa Kenji, the author of the story on which _Night on the Galactic
Railway_ was based, advocated (or at least was fascinated with the
possibility of) a spirituality that was a fusion of Buddhist and Christian
(and scientific) belief. Judeo-Christian symbology is rampant in his work
(and in the film), but that symbology is (or at least is believed to have
been) part of his personal belief system.

I'm really skeptical about the concept that symbology is limited to
decorative effect. I guess it depends on whether or not, or to what extent,
you believe a religious symbol can ever be a free-floating metaphor.

I also admit I'm really skeptical about anything an artist says about their
work, but that is another thing entirely. This is a long posting only
because I'm currently teaching a course on the films of Miyazaki and Oshii,
so the subject keeps coming up like a bad penny, although I am no expert on
religious beliefs in Japan or anywhere else.

I've since deleted the original request, but was it specific about "film and
religion"?

About Godzilla, there was a fascinating talk on Japanese film kaiju monsters
as "tricksters" as in Shinto tricksters (tanuki, foxes) at the recent U
Kansas symposium, "In the Footsteps of Godzilla." I believe publication is
forthcoming.


Joanne Bernardi
U Rochester