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Tanaka KinuyoNation, Stardom and Female Subjectivity$
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Irene González-López and Michael Smith

Print publication date: 2018

Print ISBN-13: 9781474409698

Published to Edinburgh Scholarship Online: May 2020

DOI: 10.3366/edinburgh/9781474409698.001.0001

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Meetings and Partings: How Tanaka’s Films End

Meetings and Partings: How Tanaka’s Films End

Chapter:
(p.57) Chapter 2 Meetings and Partings: How Tanaka’s Films End
Source:
Tanaka Kinuyo
Author(s):

Alexander Jacoby

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474409698.003.0003

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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