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<h2 class="hd hd-2 unit-title">Day 22 – 8 Artists ”100 Views of New Tokyo“ (1928–1932)</h2>
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<p style="font-size: 16px;"><strong>Welcome to Module IV—Tokyo Modern: 100 Views by 8 Artists!</strong></p>
<p>Today, <strong style="font-size: 16px;">Day 22 - </strong><strong style="font-size: 16px;">8 Artists “100 Views of New Tokyo” (1928–1932)</strong>, introduces a parallel series to Koizumi's. Topics include:</p>
<ul>
<ul>
<li><span style="font-size: 1em;">“100 Views of New Tokyo" (1928-1932) by 8 Artists
</span></li>
<li><span style="font-size: 1em;">Movie Theater (#29), 12/1/1929, by Onchi Koshiro
</span></li>
<li><span style="font-size: 1em;">Tokyo Boogie-Woogie: Web of Mass Media
</span></li>
<li><span style="font-size: 1em;">“Tokyo March” Film, Song, Novel
</span></li>
<li><span style="font-size: 1em;">Filmmakers: Mizoguchi, Ozu, Kurasawa
</span></li>
</ul>
</ul>
<p><span style="font-size: 1em;"><strong>Gallery and DISCUSSION: Signature Graphic</strong></span></p>
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<h2 class="hd hd-2 unit-title">“100 Views of New Tokyo“ (1928–1932) by 8 Artists</h2>
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<p>In 1928, at virtually the same time that Koizumi launched his homage to the new Tokyo, eight of his fellow artists working in the <em>Sōsaku-Hanga</em> mode announced a subscription series titled “100 Views of New Tokyo” (<em>Shin Tokyo Hyakkei</em>). Each of the eight artists contributed 12 to 13 views to the series over the next four years. The artists were:</p>
<ul>
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<li><span style="font-size: 1em;">Hiratsuka Un’ichi (1895 -1997),</span></li>
<li><span style="font-size: 1em;">Onchi Kōshirō (1891-1955),</span></li>
<li><span style="font-size: 1em;">Fukazawa Sakuichi (1896 -1946),</span></li>
<li><span style="font-size: 1em;">Kawakami Sumio (1895 -1972),</span></li>
<li><span style="font-size: 1em;">Maekawa Sempan (1888 -1960),</span></li>
<li><span style="font-size: 1em;">Fujimori Shizuo (1891-1943),</span></li>
<li><span style="font-size: 1em;">Hemmi Takashi (1895-1944),</span></li>
<li><span style="font-size: 1em;">and Suwa Kanenori (1897-1932)</span></li>
</ul>
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<p></p>
<p>Why did the artists embark on this series beyond the clear goal to sell subscriptions?</p>
<p></p>
<blockquote>
<h5>Creating a memory of the swiftly changing city—or better, a snapshot of an existing moment—was the purported objective of the subscription series. There seems to be no record of a rivalry between the consortium and Koizumi. It is reasonable to suggest that all of these images were created not only in celebration of a rebirth, but also as a kind of memory hedge against possible future catastrophe and destruction. No one at the time, of course, could have predicted that a scant two decades after the earthquake Tokyo again would be turned to rubble, this time by the wartime firebombing carried out against over sixty Japanese cities by the United States. (Ulak, <em>Tokyo Modern—III</em>, MIT Visualizing Cultures)</h5>
</blockquote>
<p></p>
<p></p>
<p>As you look at the series, keep Koizumi's series, and even Kiyochika‘s older series in mind. How do the subjects overlap with Koizumi’s series? <span style="font-size: 1em;">What </span><span style="font-size: 1em;">aspects of the new Tokyo were depicted that Koizumi may have ignored?</span></p>
<p></p>
<h5 style="text-align: right;"><em>Images in video: Carnegie Museum of Art</em></h5>
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<h3 class="hd hd-2">8 Artists “100 Views of New Tokyo” (1928–1932)</h3>
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<h2 class="hd hd-2 unit-title">Woodblock Prints & the West</h2>
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<p>Japan’s tradition of woodblock prints became a unique platform for the nation’s responses to globalization and Westernization. The <em>Sōsaku-Hanga</em> movement, driven by young artists seeking new forms of expression in an old medium, reflects Japan's struggles with modernity. </p>
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<blockquote>
<h5>On the Japanese side of this inheritance is the great technique of the woodblock print. Without this, these creative prints never could have happened. Only in Japan does any significant number of artists feel impelled to concentrate on this medium. Regardless of an artist's personal reaction to <em>ukiyoe</em>, the woodcut as a medium is deep in his national heritage. </h5>
<h5>From the West comes their artistic content, a legacy already influenced by <em>ukiyoe</em>. No one is asked to believe that Japanese art does not in some degree influence a Japanese artist but artistically the new prints are as western as shoes. (Statler, “Modern Japanese Creative Prints,” p. 113)</h5>
<p></p>
</blockquote>
<p>Dr. Ulak tells us that these prints were part of what he terms “the I Movement” expressing a personal, subjective viewpoint—“what I see” in the new Tokyo. This subjective point-of-view became a characteristic of the <em>Sōsaku-Hanga</em> style. Oliver Statler writes:</p>
<p></p>
<blockquote>
<h5>The new prints, on the other hand, are solely the artist's. They are self-designed, self-carved, self-printed, and mostly self-published. Because this is such a departure from Japanese tradition, the artists have coined a new phrase to describe their prints. They call them creative prints. (Statler, “Modern Japanese Creative Prints,” p. 111)</h5>
<p></p>
<p></p>
<p></p>
</blockquote>
<p>_______________________________</p>
<h5>Source: Statler, Oliver. “Modern Japanese Creative Prints,” <em>Monumenta Nipponica</em>, Vol. 11, No. 2 (Jul., 1955), pub. Sophia University, pp. 111-169.</h5>
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<h2 class="hd hd-2 unit-title">”Movie Theater (#29),“ 12/1/1929, by Onchi Kōshirō</h2>
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<p>With eight artists spreading out across Tokyo, the series captures diverse scenes in the new city. Koizumi’s subtle and pensive prints show the military presence and industrialization juxtaposed with nostalgic pastoral sites and memorials. His protagonist is the “man in the hat,” the spectator. The prints of the eight artists, on the other hand, are raw in both subject matter and execution. They capture the human throng engaged in new forms of entertainment, juxtaposing noisy congestion with lonely alienation.</p>
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<blockquote>
<h5>Hiratsuka recalls that this series was planned so that many aspects of Tokyo could be “remembered by people for a long time.” In this connection, one must keep in mind that much of Tokyo had been destroyed in the great earthquake and fire of 1923 so that the city and its life which the artists wished to depict were, in many respects, rather new. … the group apparently decided that each artist would make 12 or 13 prints in an edition of 50 copies. Hiratsuka was asked to make the first print which was to be, as one might expect, Nihonbashi, for centuries the central point of the city from which all distances were measured. (Austin, ”Shin Tokyo Hyakkei,“ 1)</h5>
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<p>Instead of starting the series with Tokyo‘s center—Nihonbashi—the series was organized by age, beginning with the oldest artists (who were in their 30s) to the youngest artists.</p>
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<p>In Module III, you saw a print by Onchi Kōshirō, the most powerful personality behind the <em>Sōsaku-Hanga</em> movement. It is no surprise that Visualizing Cultures chose his bold composition—"Movie Theater" (#29), 12/1/1929—as the signature graphic for the unit <em>Tokyo Modern—III</em>. Beyond the unforgettable composition, the screen-lit darkened theater, and shared viewing with the audience-as-proxy, the film industry was a growing transnational form with strong cross-cultural influences.</p>
<p>__________________</p>
<h5>Source: Austin, James B. “Shin Tokyo Hyakkei: The Eastern Capital Revisited by the Modern Print Artists,” <em>Ukiyo-e Art</em>, A Journal of the Japan Ukiyo-e Society, No. 14, 1966.<br /><br /></h5>
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<div><img height="auto" width="100%" src="/assets/courseware/v1/c1777a9b6dd3e500492a34045bb95960/asset-v1:MITx+VTx+1T2019+type@asset+block/8A_029_1929_Onchi.jpg" alt="Movie Theater (#29), 1929, by Onchi Koshiro, From the series 100 Views of New Tokyo, collection of Carnegie Museum of Art" /></div>
<h5><br />”Movie Theater“ (#29), 12/1/1929, by Onchi Kōshirō (Carnegie Museum of Art)<span style="font-size: 1.2em;"> </span></h5>
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<h3 class="hd hd-2">”Movie Theater (#29),“ 12/1/1929, by Onchi Koshiro</h3>
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<h2 class="hd hd-2 unit-title">Tokyo Boogie-Woogie: Web of Mass Media</h2>
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<p>Prof. Nagahara discusses his book, <strong><em>Tokyo Boogie-Woogie: Japan's Pop Era and Its Discontents</em></strong>. He describes a rising web of mass media and the clash of tradition and modernity in pop music using the example of <strong>”Tokyo March.”</strong> <em>Tokyo Boogie-Woogie</em> points to the inherently chaotic and contradictory characteristics of modernity in Tokyo. </p>
<p></p>
<blockquote>
<h5>The writers and producers of “Tokyo March” not only to refrained from judging the contradiction found in the city, they also embraced it as the evidence of the city’s authentically modern identity. The celebration of Tokyo’s modern contradictions is even more apparent in Saijō’s lyrics, as they take the listener through the contrasting neighborhoods of Tokyo, including the chic Asakusa, classic Ginza, and energetic Shinjuku. (Nagahara, <em>Tokyo Boogie-Woogie</em>, p. 44)</h5>
</blockquote>
<p></p>
<p>Blurred class boundaries amidst an onslaught of new machines and media contributed to the feelings of excitement, disruption, and a tension between traditional and foreign cultures. Mass production led to mass-produced culture:</p>
<p></p>
<blockquote>
<h5>In affirming the sociocultural contradictions of Tokyo and its mass inhabitants, the producers of “Tokyo March” defended the value—and values—of mass-produced culture, be it pulp fiction, film, or popular songs. Criticized for the vulgarity and depravity of their products, Japan’s newly emerging culture industries responded by laying claim to an authenticity that derived from their purported intimacy with the everyday lives and desires of the consumers. (Nagahara, <em>Tokyo Boogie-Woogie</em>, p. 45)</h5>
<p></p>
</blockquote>
<p><img height="auto" width="40%" src="/assets/courseware/v1/69aeb828e89d6335f7ee308a84cc963d/asset-v1:MITx+VTx+1T2019+type@asset+block/tokyo-boogie-woogie-cover.jpg" alt="dust jacket, Tokyo Boogie-Woogie: Japan’s Pop Era and Its Discontents by Hiromu Nagahara, Harvard University Press, 2017" /></p>
<h5>Caption: dust jacket, <em>Tokyo Boogie-Woogie: Japan’s Pop Era and Its Discontents</em> by Hiromu Nagahara (Harvard University Press, 2017)</h5>
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<h3 class="hd hd-2">Tokyo Boogie-Woogie: Web of Mass Media</h3>
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<h2 class="hd hd-2 unit-title">“Tokyo March” Film, Song, Novel</h2>
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<p>The ”web of media“ combined in the 1929 film, ”Tokyo March“:</p>
<p></p>
<ul>
<ul>
<li><span style="font-size: 1em;">a <strong>silent film</strong> directed by Mizoguchi Kenji</span></li>
<li><span style="font-size: 1em;"><strong>novelization</strong> by Kikuchi Kan </span></li>
<li><span style="font-size: 1em;">a <strong>popular song</strong> that opens the film, ”Tokyo March“ <em>(Tokyo Koushinkyoku)</em></span></li>
</ul>
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<p></p>
<p>The song ”Tokyo March“ was also collaborative: </p>
<ul>
<ul>
<li><span style="font-size: 1em;">composed by Shinpei Nakayama</span></li>
<li><span style="font-size: 1em;">lyrics by Saijo Yaso</span></li>
<li><span style="font-size: 1em;">recorded by singer Sato Chiyoko</span></li>
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</ul>
<p>Chika Kinoshita described the circulation of ”Tokyo March“:</p>
<blockquote>
<h5>“Tokyo March” was a phenomenon that found expression in the media of serial novels, the phonograph, radio, and cinema. From June 1928 to October 1929, the popular novelist Kikuchi Kan (1888-1948) serialized <em>Tokyo koshinkyoku</em> (Tokyo march) in <em>Kingu</em> (King), the illustrated monthly with a readership of more than 700,000 that typified the flourishing mass culture in late-1920s Japan. (Chika Kinoshita, “The Edge of Montage,” <em>The Oxford Handbook of Japanese Cinema</em> edited by Daisuke Miyao, Oxford University Press, 2018, p. 129)</h5>
</blockquote>
<p>The lyrics include the phrases:</p>
<blockquote>
<h5><em>Longing for the past when the streets in Ginza were lined with willow trees</em></h5>
<h5><em>A young beauty becomes a nobody with age</em></h5>
<h5><em>Dance to the jazz music and down liquor into the night</em></h5>
<h5><em>And the rain that is the tears of the dancers will sprinkle at the break of dawn.</em></h5>
</blockquote>
<p>You can listen to the song after Prof. Nagahara‘s explanation.</p>
<h5></h5>
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<h3 class="hd hd-2">"Tokyo March“ Film, Song, Novel</h3>
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<h3 class="hd hd-2">Sato Chiyoko – ”Tokyo March“ – 佐藤千夜子 東京行進曲 (1929) </h3>
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<h5>”Tokyo March“ by singer Sato Chiyoko video clip Licensed to YouTube by Victor Entertainment, Inc.; Muserk Rights Management) </h5>
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<h5><a href="https://library.osu.edu/site/japanese/2014/11/05/focus-on-rekion-「東京行進曲」tokyo-koshinkyoku-tokyo-march-composed-by-shinpei-nakayama/" target="_blank">Focus on Rekion : 「東京行進曲」(Tōkyō Kōshinkyoku) “Tokyo March” composed by Shinpei Nakayama, Ohio State University Library website</a> This is external to edX and will open a new window</h5>
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<h2 class="hd hd-2 unit-title">Filmmakers: Mizoguchi, Ozu, Kurasawa</h2>
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<h3 class="hd hd-2">Tokyo March / Mizoguchi, Ozu, Kurasawa</h3>
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<p>Prof. Dower references three of Japan‘s most famous, influential, and entertaining filmmakers—Mizoguchi, Ozu, and Kurasawa—who will be of interest to students for further exploration. We’ll highlight just one of these films here, an unusual and lesser known film from Kurasawa that deals with some of the topics in this course.</p>
<p><strong>Akira Kurosawa, <em>No Regrets for Our Youth</em> (1946)</strong></p>
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<p><em>No Regrets for Our Youth</em> (1946) directed by Akira Kurosawa, starring Setsuko Hara, was his only film with a female protagonist. The film tells the story of resistance to the increasing governmental authoritarianism and censorship driving the militarism that lead to Japan to war. </p>
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<h5>In Akira Kurosawa's first film after the end of World War II, future beloved Ozu regular Setsuko Hara gives an astonishing performance as Yukie, the only female protagonist in Kurosawa's body of work and one of his strongest heroes. Transforming herself from genteel bourgeois daughter to independent social activist, Yukie traverses a tumultuous decade in Japanese history. (from The Criterion Collection website, <a href="https://www.criterionchannel.com/browse" target="_blank">criterionchannel.com</a>)</h5>
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<p>The back story adds more complexity to the film and its origins. Directed in 1946, <em>No Regrets for Our Youth</em> was part of a genre of films called "democratization films" and "idea pictures" made by Japanese filmmakers during the American post-war occupation period. These films promoted women's liberation, and democratic values, often expressed through the role of the female protagonist. Ayako Saito writes:</p>
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<h5>Typically, the woman is young, rebellious, and a proponent of the new democracy. She often and unabashedly criticizes patriarchal, conservative men for their sexist views, and challenges their authority by confronting their militaristic past, presenting a start contrast from the representation of woman during wartime. (Ayako Saito, "Occupation and Memory," <em>The Oxford Handbook of Japanese Cinema</em>, 329)</h5>
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<p>But featuring female protagonists had another function that went beyond beyond narrative. </p>
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<h5>Women and children, who used to be subservient to the masculinist nation's cause, confined in the domestic sphere, be it at home or in factory labor, protecting the home front, preserving through the hardship of war, unfailingly valorizing the imperial patriarchy of the Japanese nation, are now transformed, reformed to voluntarily support the new American ideology. At the same time, paternal authority and masculine virtues were culturally and visually castrated. (ibid)</h5>
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<p>Professor Dower's book on the post-WW2 occupation of Japan, <em>Embracing Defeat: Japan in the Wake of World War Two</em> addresses the many dramatic confrontations and transformations that took place at all levels of Japanese society in the late 1940s and early 1950s. It is especially relevant to VTx, as it looks at how Tokyo was, once again, leveled and rebuilt.</p>
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<p><img height="auto" width="45%" src="/assets/courseware/v1/35ece0869824ca56c5160787992aeb56/asset-v1:MITx+VTx+1T2019+type@asset+block/kurasawa_01_no-regrets-for-our-youth_toho.jpg" alt="film stills from “No Regrets for Our Youth” (1946) directed by Akira Kurosawa, starring Setsuko Hara, images from Toho Studio, Japan, 110 min." /> <img height="auto" width="45%" src="/assets/courseware/v1/32b94668a16bb147b1d960532d57f053/asset-v1:MITx+VTx+1T2019+type@asset+block/kurasawa_02_no-regrets-for-our-youth_toho.jpg" alt="film stills from “No Regrets for Our Youth” (1946) directed by Akira Kurosawa, starring Setsuko Hara, images from Toho Studio, Japan, 110 min." /></p>
<p><img height="auto" width="45%" src="/assets/courseware/v1/e4e8267298706932b88c93503432c368/asset-v1:MITx+VTx+1T2019+type@asset+block/kurasawa_03_no-regrets-for-our-youth_toho.jpg" alt="film stills from “No Regrets for Our Youth” (1946) directed by Akira Kurosawa, starring Setsuko Hara, images from Toho Studio, Japan, 110 min." /> <img height="auto" width="45%" src="/assets/courseware/v1/ce95487c5e7b6b3354e4444b9570e90e/asset-v1:MITx+VTx+1T2019+type@asset+block/kurasawa_04_no-regrets-for-our-youth_toho.jpg" alt="film stills from “No Regrets for Our Youth” (1946) directed by Akira Kurosawa, starring Setsuko Hara, images from Toho Studio, Japan, 110 min." /></p>
<h5>Caption: film stills from “No Regrets for Our Youth” (1946) directed by Akira Kurosawa, starring Setsuko Hara, Japan, 110 minutes, <a href="https://www.toho.website/kurosawa/5/index.html#gallery-case" target="_blank">images from Toho Studio</a> [content external to VTx will open in a new window]</h5>
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<h2 class="hd hd-2 unit-title">Day 22 Gallery and Discussion - Signature Graphic</h2>
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<p>Onchi Kōshirō's ”Movie Theater“ was chosen by the Visualizing Cultures team as the ”signature graphic“ of the unit, <em>Tokyo Modern—III</em>.</p>
<p><img height="auto" width="80%" src="/assets/courseware/v1/e691bac6c211dc075730136c2e38813d/asset-v1:MITx+VTx+1T2019+type@asset+block/vc-unit_Tokyo-Modern-III_8Artists.jpg" alt=""Movie Theater" image on unit page for Tokyo Modern—III on Visualizing Cultures" /></p>
<h5>Caption: Onchi Kōshirō, ”Movie Theater“ (#29), image on unit page for Tokyo Modern—III on Visualizing Cultures</h5>
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<p>Scroll through the “100 Views of New Tokyo” Image Gallery below, then participate in the Discussion.</p>
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<li><span style="font-size: 1em;">Why do you think ”Movie Theater“ was chosen?</span></li>
<li><span style="font-size: 1em;">What image would you choose and why?</span></li>
<li><span style="font-size: 1em;">As you scroll, what catches your eye?</span></li>
<li><span style="font-size: 1em;">What image stays in your ”mind's eye“ later on?</span></li>
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<p>Enter your comments in the Discussion below.</p>
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<div>GALLERY: 8 Artists, 100 Views of Tokyo (scroll to view thumbnails; click to enlarge)<br/><br/></div>
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<h5><br/><br/><br/>”100 Views of New Tokyo,“ 1928–1932, a subscription series by 8 Artists (Images courtesy Carnegie Museum of Art). Image Gallery from <em>Tokyo Modern lll,</em> MIT Visualizing Cultures</h5>
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