cross-posting from H-JAPAN on August 17, 2011 by Peter Cave @manchester.ac.uk
Subject: The Supposedly Docile Japanese Public and 'Kokurikozaka kara'
As a coda to this interesting discussion on 'the supposedly docile Japanese public', last Saturday I went to see the latest Studio Ghibli film, 'Kokurikozaka kara'. An NHK Special programme about the making of this film a week or two ago described it as a story about first love. It is that, but it's a lot more. It's a fascinating tale about high school students at a private Yokohama high school in 1963, who engage in lively debates and engage in constructive opposition to plans to demolish a historical building where they hold their bungei-bu activities. The film portrays their behaviour in an entirely favourable way. I have no idea whether it bears any resemblance to the reality of high school students in the early 1960s, or whether it's more Miyazaki Hayao's ideal of what they should have been (or a mixture of the two) - this is the time between Anpo and the Gakusei Funso of the late 60s, of course, so perhaps 1963 allows Miyazaki to subtly associate the story with that period and yet not directly link it to its most controversial episodes. For me, the film had a strong resonance with the current protests and debate over nuclear power, the implicit messages being, 'Think for yourself!' 'Don't just accept what the authorities do!' and 'Take action!' ...
Subject: The Supposedly Docile Japanese Public and 'Kokurikozaka kara'
As a coda to this interesting discussion on 'the supposedly docile Japanese public', last Saturday I went to see the latest Studio Ghibli film, 'Kokurikozaka kara'. An NHK Special programme about the making of this film a week or two ago described it as a story about first love. It is that, but it's a lot more. It's a fascinating tale about high school students at a private Yokohama high school in 1963, who engage in lively debates and engage in constructive opposition to plans to demolish a historical building where they hold their bungei-bu activities. The film portrays their behaviour in an entirely favourable way. I have no idea whether it bears any resemblance to the reality of high school students in the early 1960s, or whether it's more Miyazaki Hayao's ideal of what they should have been (or a mixture of the two) - this is the time between Anpo and the Gakusei Funso of the late 60s, of course, so perhaps 1963 allows Miyazaki to subtly associate the story with that period and yet not directly link it to its most controversial episodes. For me, the film had a strong resonance with the current protests and debate over nuclear power, the implicit messages being, 'Think for yourself!' 'Don't just accept what the authorities do!' and 'Take action!' ...
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