Koagedal 1

Japanese Film: Globalization, Female Role Models/ Main Characters, a Homogeneous Society
and Family
By Karina Koagedal
Takahashi














Koagedal 2

INTRODUCTION : IMPORANTANCE OF THE MAIN CHARACTER
The main character of a film is defined by ask.com as the individual who contributes
the most to the story or who is the most important of the story. Other names for the main
character include, protagonist, hero, central figure and heroine. While main characters contribute
to their story they also contribute to society. The media plays an incredibly important role in
imprinting values and morals on people. In a society the main characters in films are important
because they are role models for the future generations. Roles models or main characters reflect
the desires or values of a society. What they say and do on screen affects the worlds next global
citizens. Exploring how main characters have changed over time is important to understanding
how the values of society are changing for better or worse. Also exploring this topic can shed
some light on where the worlds next global citizens are headed, and what their values and or
morals are going to be.
Thesis
Japan is a homogeneous society and the films produced reflect that. I will be exploring
how the Japanese film industry has approached the concept of the main character and how it has
changed over time through the lens of globalization. Identifying the changes of the main
character in each country is important because it chronicles where we have been and where we
are headed as a society. Showing the time line of the concept of the main character chronicles the
values of a society as they change or do not change. I will analyze Always Sunset: On Third
Street, Tampopo, San Juro, The Hidden Fortress and Summer Wars. These films reveal intricate
nuances of Japanese society. I will focus on the homogenous aspect of the Japanese society and
explain how globalization has changed the concept of main character and thus the values of
Koagedal 3

Japanese society all of which is reflected by the Japanese film industry.

The Hidden Fortress: The starting line for the predominate female character
The Hidden Fortress is my starting point for the predominate female character in the
Japanese film industry. It was made in 1958. This films shows where Japan was headed in terms
of a strong female role model that has an essential role in the plot of a film. The princess of the
decimated clan however, is not very female to being with. In the movie the characters state she
was raised male and that was a mistake. She in fact acts more male than female through out the
whole movie. This can be seen in her hard demanding dialog, the dress she adorns, her harsh
expression and strong makeup that gives way to strong masculine features. Through this movie
equality of women is changing in Japan, but a women can only be strong if she is masculine.
This is what the Hidden Fortress drives home. While the masculine female character has a role
in Japanese society as it gives birth to the Battling Beauty ( Mechademia) in anime and manga
is just the tip of the ice berg for the true role of the female character in the Japanese film
industry over time.
Sanjuro: Reflecting Japanese History and Homogeneity
While the beginning of the strong female character is important the homogeneity that she
will eventually change is also critical. Sanjuro sets the tone for my timeline of the Japanese film
industry in regards to how Japan is a homogenous society. It was made in the 1962 and
examined Samurai culture, but I think it really set the current mood of how Japan viewed its own
culture during the time it was made. San Juro was all about groups. These groups were warring
but nonetheless both were on one side or the other. The movie is all about a change in power.
During the 1960s Japan was going through major political protests. Patricia G. Steinhoff states
Koagedal 4
that Students participated heavily in the two waves of social protest that opened and closed the
decade of the 1960s. (Steinhoff) This group mentality had been around for ages in Japanese
society, but now during the time this movie was made Japan was divided and like any
homogenous society would do people chose sides. Sanjuro reflects a homogenized society
divided. As the film progresses it because clear that if you leave your group and try and be
individualistic you will die, as many men did during the movie, when they refused to listen to the
lone Samurai. Another consequence of disobeying the group is ones goal will be in imperil,
because every time the group of samurai disobeyed the lone samurai they lost head way on their
overall goal. Even with the marked westernization left behind after WWII , in Japan and the
world becoming more interconnected through other wars, Japan still clings to its homogenization.
No one wanted to be outside of the group even when sides had to be chosen.
Tampopo: Globalization and the Western influence
Now that the stage is set for Japans homogenous society and the budding influential
female character, Tampopo is the next film I will be analyzing. It was made in 1987. It really
exemplifies how globalization was influencing Japanese culture and how its people have
internalized what being western or non-Japanese means. The film is set around a ramen shops
success which is an imported dish from China. The success of the Tampopo is based on her
blending of different ramen attributes together to make the best ramen. This is a melting pot
motif of cultures that is globalization. The world is getting smaller. This film also shows major
western leanings in the costume design via the mobsters and obvious western dress. Western
influence can be seen in the food etiquette scene as well. Where westernization matters most it
through the strong female character of Tampopo. Inoyue states that, Tampopo realizes the
capitalist dream of establishing a profitable business. (Inoyue 2001). While globalization has
Koagedal 5

brought western culture to Japan, Japan is still very much homogenized. For example all of the
main characters of Tampopo have their individual specialties they only exist for the good of the
group, which is in the success of the female lead. The group of men support and all work for
Tampopos future. It is obvious that even with western influence of a modern woman Japan is
still homogenized.
Tampopo: A Change Towards the Individual
Through globalization Japan can now see the individual and where it should stand in
Japanese society. Namely, individuality can take place within the strong female character.
Tampopo was one of the films that show the development of a strong female character that knew
what she wanted. The main character of this film reflects a change in Japans role models. It is a
slow change but a change nonetheless. Tampopo comes off first as a weak woman who needs the
guy dressed like Indiana Jones to save her, but then we learn she is a single mother and owns her
own business. While she still need the help of the group of men around her. she is pushing the
limits of what a woman can do without a man in her life. Alastar Phillips and Julian Stringer
(2007) authors of Japanese Cinema states that Tampopo is also a highly motivated woman, full
of initiative, yet also warm-hearted (pg 265) She takes control of her life and stands out. This
was a major switch for Japan in the fact that women are generally house wives. Theodore Bestor
a professor of anthology at Harvard University states that a Japanaese woman is expected upon
marriage to essentially give up her career and devote herself full time over the next fifteen or
twenty years to raising children and all of the other household responsibilities that appear.
(Bestor) Tampopo is changing the housewife stereotype and imprinting strong values on the
worlds future generations that single mothers and career women can be successful. The main
female character of Tampopo is also an individual because she is the only one who is an
Koagedal 6
entrepreneur and is majorly influenced by strong western capitalist notions.
Tampopo: Strong Women and the Economic Growth of the 1990s
Overall what I think this new kind of role model is telling Japanese society is that a
woman can play a stronger role in business and a different one within the family. This is
important because the global landscape is changing where the nuclear family model of one
breadwinner might not cover the average costs of living in a wealthy country. The embassy of
Japan states, during the 1990s, Japan was in its slowest period of economic growth since World
War II. Therefore new ways of creating business through strong women who could take control
and stand out was an important role model for women to follow because when this film was
made there was new need for new economic growth from new sources such as the strong
individualistic woman.
Always Sunset: Individualism with grace
Always Sunset: on Third Street is the next film that pushes the female role model with
the aid of individualism. Created in 2005 individualism can be seen in many of the female
characters through how they make their one decisions for their own future. The bartender leaves
her new family for save her old own. They young student leaves her new family to make amends
with her old family. They making sacrifices and they are taking control of their own lives with
the cards that they have been dealt. Within the post WWII setting they are handling the new
capitalistic ever-changing world now influenced by the west with grace. This individualism
emanating from these female characters shows how far the human rights that both the U.S. and
Japan fought for, together after WWII have come. After WWII and the San Francisco Peace
Treaty, the embassy of Japan states that Japan and the United States share interests and
Koagedal 7

fundamental values, including freedom, democracy, human rights and the rule of law. (
Overview of Japan-U.S.) This new age of rebuilding together for a better world changed the
values of human rights. Starting from scratch created more opportunity for women.
Always Sunset: The New Generations and The Will to Work
The opportunities of women and the female role model continued with the western
influence through commodity culture and spreading consumerism. Both were a major theme
throughout the film. Commodity culture is seen in family acquiring new technology like a T.V.
and a fridge . Spreading consumerism/capitalism is seen through the big money villain and how
tries to buy his son. With urbanization of Tokyo comes consumerism and the cities are then built
and the supply and demand system for workers is created all due to the effects of WWII. With
this new age of western influence there is a movement of young people to the cities to work,
specifically young women. There is this new age of hope of for young women. They can make
better lives for themselves thanks to the western effects of WW II. Japan needed to be rebuilt.
The young high school graduate of this film shows just how far the female role has come by not
only doing a mans job as an auto body worker, but she also pushes the limits of her future and
she stands up for her self and the truth against the patriarchal father figure in the household she
works and lives in. She refuses to be called a liar despite the fathers outrage. This is where she
becomes different, no one else not even the opinion house wife of the community could stand up
to him like she did. She becomes truly a individual and defies the status quo.
Summer Wars: The Complete Realization of The Female Character
Summer Wars is where the complete realization of the strong female character occurs.
The young female college student saves the day, she is the strongest of the group because of her
Koagedal 8
card playing skills she learned from her very strong grandma. The new generation of women is
taught to be strong from the older generation. She is also a good role model because it is she
who brings back the rejected son of the mistress to further the plot. The grandma and her grand
daughter are both strong and forward, they jump at conflict and laugh in its face. Also the two
women are not masculine because they were dresses and kimonos and have softer hearts for their
families. They are not rough in speech but forward in what they want. Grandma is not afraid to
speak her mind and her family listens. This is a stark contrast with the princess from The Hidden
Fortress. She commands as a male and thus is respected as such. This new age of Japanese
women command as women and are respected because they are women. This change is
important because in reality it is often difficult change a gender role within society via a strong
contrast. I doubt that troves of Japanese women can simply start acting more masculine to
change their gender roles as house wives. Thus it is must easier break out of ones roles if one
works within the confines of ones current roles. The wives and mothers of Summer Wars are a
perfect example of women working within their current roles and situations. While they did cook
and clean for the party they also stated their opinions and what they planned on doing through
out the film clearly and with out question did as they pleased, this was then respected by their
husbands.
Homogeneity and the Place of the Individual
Some may argue that the homogenous aspect of Japanese society has not changed over
the years even with globalization making the world smaller and the influence of the west,
therefore the individual or individualistic values portrayed by the new strong female main
characters have no place in Japanese society. Through the analysis of the many films above it is
true that the group mentality aspect of Japan has not changed much over the decades since
Koagedal 9

globalization and the western influence, but the fact remains the individual and individualist
values within the homogenous society do have a place. The strong female role model that has
individualistic values pushes whatever group she finds herself in to the limit. It is all done for
the good of the group. Pushing the limits of society expectations is what breeds progress.
Importance of the Individual
Japan might still be homogenized but there is definitely a place for a strong individual. A
woman in Japan must break out of her gender role of a house wife who brings in no income
because Japan is facing a work force crisis. Today, Japan has with a declining birth rate and
increasing ageing population states Gregory M. Pflugfelde . In his review of Women and Class
in Japanese History by Hitomi Tonomura, Pflugfelde states that The government believes that
womens participation in the workforce is essential to ensure a sufficient amount of labor
( Pfugfelde) These female role models in Japanese film are essential because they must push
women towards careers and out of their gender roles for the good of the economy.
CONCLUSION
Through analyzing these films there is a key value of Japanese society that has changed
through the introduction of the strong female character. Through globalization and the influence
of the West via WWI and other economic factors, the values of what a family consists of have
changed. The strong female role model in Japanese film has brought this change. Families can be
pieced together similar to Always Sunset. The young girl finds her place with her adopted family.
The bar tender woman looks forward to her engagement and her adopted son. In Summer Wars
it is the strong matriarchal Grandma that accepts her husbands mistresses son as one of her own.
Still, many even argue that gender roles have not completely changed and women are still stuck
as house wives in Japanese film and thus they have not changed in Japanese society. In Summer
Koagedal 10
Wars most of the women in the film are in the kitchen cooking or cleaning for the party and none
of the men do anything of the sort. However gender roles are changing. The women in this
Japanese film are all loud an opinionated and through out the film stand up to their husbands and
do their own thing when it pertains to saving the world or handling their Grandmas funeral.
They may still be in the kitchen cooking, but they do have a voice and that is the impression that
stays with the audience.
Conclusion Continued: Moving Forward Towards Progress
Through the emergence of the strong but not masculine female character the stereotypical
homogenous society is evolving to include the individual. All of the female characters that I have
mentioned push the boundaries of the groups they belong too. They push from their gender roles
as housewives and mothers to have their opinion heard by society. They are not masculine but
stronger humans beings. This kind of role model is important in helping Japan move towards a
more equal society to keep on par with the changing world as globalization makes it more
difficult to be unequal.









Koagedal 11

Citations
Bestor, T. (2002). Contemporay Japan: The Japanese family: Contemporary women. Retrieved
May 5, 2014, from Asian topics a online resource for Asian history and culture website:
http://afe.easia.columbia.edu/at/contemp_japan/cjp_speakers.html

Inouye, C. S. (2001). In the show house modernity: Exhastive listing in Itami Juzo's Tanpopo.
Cambrigde: Univeristy Press.

Main character. (n.d.). Retrieved May 6, 2014, from Ask website:
http://www.ask.com/question/what-is-the-definition-of-main-character

Mechademia 1 : Emerging Worlds of Anime and Manga. (2006). Minneapolis, Minn. :
Bristol: University of Minnesota Press ; University Presses Marketing [distributor].

Phillips, A., & Stringer, J. (Eds.). (2007). Japanese cinema: Texts and contexts. Milton Park,
Canada: Routledge.

Pflugfelder, G. (2002). Women and class in Japanese history. Monumenta Nipponica, 57(1), 91-
94.

Steinhoff, P. G. (1999). Student protest in the 1960s. Social Science Japan, (15), 3-6.

Koagedal 12
Overview of Japan-U.S. Relations. (2008, February). Retrieved May 6, 2014, from Embassy of
Japan in the United States of America website: http://www.us.emb-
japan.go.jp/english/html/japanus/ apanusoverview2008.htm