Las mujeres del cine japonés a través de la mirada de Ozu y Yoshida

  1. García Cañadas, Alfonso 1
  2. Marcos Molano, Mar 1
  1. 1 Universidad Complutense de Madrid
    info

    Universidad Complutense de Madrid

    Madrid, España

    ROR 02p0gd045

Journal:
Historia y comunicación social

ISSN: 1137-0734

Year of publication: 2020

Volume: 25

Issue: 1

Pages: 171-180

Type: Article

DOI: 10.5209/HICS.69235 DIALNET GOOGLE SCHOLAR lock_openOpen access editor

More publications in: Historia y comunicación social

Sustainable development goals

Abstract

The study of the role of women throughout the history of cinema, is the center of multidisciplinary and pluriperspectivistic researches. This article focuses on the work of two filmmakers who evolve the figure of women for several decades in very different social, artistic and political contexts: from the classic vision of Ozu to the revolutionary look of Yohsida, the female characters travel the cinematographic plots of both filmmakers, setting the profile of a woman who embraces renewal, among the ruins of the tradition of Japanese culture.

Bibliographic References

  • Benedict, R (1946). El crisantemo y la Espada. Madrid: Alianza Editorial.
  • Casetti, F. y Di Chio, F. (1991). Cómo analizar un film. Barcelona: Paidós.
  • Cooper, J. (2013). The Roles of Women, Animals, and Nature in Traditional Japanese and Western. Tennesse: East Tennessee State University.
  • Desser, D. (1988). Eros plus Massacre. Indianápolis: Indiana University Press.
  • Fairbank, J. K., Reischauer, E. O, Craig, A. M. (1973) East Asia: tradition and transformation. London: Allen and Unwin.
  • Kawamura, S. (2011). Marriage in Japan: attitudes, intentions, and perceived barriers. Ohio: Bowling Green State University.
  • Kincaid, C. (2013). A Look at Gender Expectations in Japanese Society. [en línea] Japan Powered. Disponible en: http://www.japanpowered.com/japan-culture/a-look-at-gender-expectations-in-japanesesociety [Accesible 9 Mar. 2017].
  • Koyamat T. (1961) The changing social position of women in Japan. Paris: La Tribune de Genove.
  • Kuhn, A. (1991). Cine de mujeres. Feminismo y cine. Madrid: Cátedra.
  • Mclelland, J. M. (2010). Kissing Is a Symbol of Democracy!” Dating, Democracy and Romance in Occupied Japan 1945-1952. Wollongong: University of Wollongong Australia.
  • Mulvey, L. (1975). Visual and narrative pleasures. En: Film and criticism: introductory readings. New York: Oxford UP.
  • Richie, D. (2004). Cien años de cine japonés. Madrid: Ediciones Jaguar.
  • Russell, C. (2010). Japanese Cinema in the Global System: An Asian Classical Cinema. The China Review.
Data source: Dialnet