The post-Aum films of Kurosawa Kiyoshi

Abstract

The films of Japanese director Kurosawa Kiyoshi in the late 1990s and early 2000s capture the malaise of the ‘lost decade’ (ushinawareta jû-nen) of the 1990s, a period characterized by the end of an economic boom that propelled Japan through two decades of unprecedented prosperity. Facing the decline of high-growth, the country for the first time in two decades could no longer ignore the things that it had suppressed to realize progress: the failure of Japan's radical movements of the 1960s and early 1970s and their de-evolution into extremism. As the haze of prosperity dissipated in the early 1990s, Japan was again stunned by a violent uprising more than two decades after the collapse of the student movements – the Tokyo subway gassings in 1995, an event that many associated with the radicalism of the 1960s and 1970s. The attacks served as a reminder of the deep-seated social dissatisfactions that existed among the activist generation and the violence that results from extremism. Utilizing trauma theory, this paper will examine the way Japan's radical past is re-experienced in Kurosawa's films in the years following the gassings. Through an analysis of the cinematic style of Charisma (Karisuma 1999 Karisuma, 1999. DVD. Directed by Kurosawa Kiyoshi. Nikkatsu Studio. [Google Scholar]), Pulse (Kairô 2001 Kairo, 2001. DVD. Directed by Kurosawa Kiyoshi. Tokyo: Daiei Studio. [Google Scholar]), and other cinematic works in light of their narrative references to radicalism, this article will flesh out the layered process through which Kurosawa's films engage the past while coping with the trauma of post-Aum Japan.

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