Meetings and Partings: How Tanaka’s Films End
Meetings and Partings: How Tanaka’s Films End
Alexander Jacoby moves ahead to the 1940s and 50s in order to explore Tanaka’s second period of stardom as a mature actress. Shifting from the common auterist focus of Japanese film studies to analyse these canonical films as star vehicles for Tanaka, Jacoby argues that her star persona helped clarify the ideology of the films, thus advocating a ‘star-as-auteur’ approach. Examining the climax and endings of several films, the chapter contends that the ideological trajectory of each work is made explicit via the resolution of a narrative thread concerning Tanaka's relationship with a male – be they friend, lover or relative. Correspondingly, when the central relationship is with another woman, the ideological implications of the resolutions are more radical. Through an approach that places emphasis on the depiction of touch in Tanaka’s physical interactions with other characters, the chapter revisits classical works of post-war Japanese cinema from a new perspective.
Keywords: Touch, Ideology, Endings, Stardom, Actress, Auteur, Tanaka Kinuyo
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