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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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Women in the Public Sphere

Women in the Public Sphere

(p.134) 5 Women in the Public Sphere
Making Icons

Jennifer Coates

Hong Kong University Press

Chapter 5 analyses positive motifs related to hope and healing in the characterization of nurse and schoolteacher roles. This positive affect contrasts with the threatening representation of young women in the public sphere embodied by the ‘modern girl,’ or moga character. The second part of this chapter contextualizes this post-war character in relation to the pre-war moga, making a case for the post-war gangsters molls played by Mihara Yōko as a post-war equivalent. Case studies include One Wonderful Sunday (Subarashiki nichiyōbi, Kurosawa Akira, 1947), Drunken Angel (Yoidore tenshi, Kurosawa Akira, 1948), Twenty Four Eyes (Nijushi no hitomi, Kinoshita Keisuke, 1954), and the Line series (Ishii Teruo, 1958-1961).

Keywords:   Nurse, teacher, modern girl, moga, modernization

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