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Families, Crisis, And Film

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Chapter Summary

This chapter focuses on four contemporary films by quite different directors whose work in these examples shows parallels that offer devastating critiques of the modern Japanese family: Kazoku geemu (The Family Game, 1983) and Kuroi ie (The Black House, 1999) by Morita Yoshimitsu; Bijita Q (Visitor Q 2001), by Miike Takashi; and Dare mo shiranai (Nobody Knows, 2004) by Koreeda Hirokazu. The family exists in these four films as a microcosm of social collapse, as existing in a moral crisis of alienation. Japanese film contains many presentations of the family in crisis. Efforts to ?save the family? are part and parcel of conservative political and religious movements in North America and Europe, as well, movements which also aim for a strengthening of criminal laws and a return to ?traditional? values.

Keywords: Japanese family; Japanese film; social crisis



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