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Making IconsRepetition and the Female Image in Japanese Cinema, 1945-1964$
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Jennifer Coates

Print publication date: 2017

Print ISBN-13: 9789888208999

Published to Hong Kong Scholarship Online: May 2017

DOI: 10.5790/hongkong/9789888208999.001.0001

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Post-war Housewives and the Tsuma-mono

Post-war Housewives and the Tsuma-mono

(p.90) 3 Post-war Housewives and the Tsuma-mono
Making Icons

Jennifer Coates

Hong Kong University Press

The historical development of the post-war housewife role is described, contextualizing the following analysis of Ozu Yasujirō’s tsuma-mono film A Hen in the Wind (Kaze no naka no mendori, 1948). The chapter presents a chronological account of the development of the housewife trope on-screen from the early postwar period into the 1960s. Hybrid characters composed of stereotypical ‘mother’ and ‘wife’ characteristics, which began to appear from the early 1960s, are analyzed in the last section of the chapter. Case studies include Repast (Meshi, Naruse Mikio, 1951), The Happiness of Us Alone (na mo naku mazushiku utsukushiku, Matsuyama Zenzo, 1961), and Mother (Haha, Shindō Kaneto, 1963).

Keywords:   Wife, tsuma, Ozu Yasujiro, Tanaka Kinuyo, Americanization

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