Nationalism, Censorship and Subversion: An Exploration of meaning in Kenji Mizoguchi's War Years Pictures (1939-1945)

The late-1930s, early-1940s was a time of great political upheaval and social change in Japan. Increasing military influence on domestic policy and a focus upon nationalistic thought had a profound effect on the social role of cinema and the creative freedoms of film-makers. Even as a recognised director, Kenji Mizoguchi did not escape these strictures. This paper will analyse three key elements that had a profound effect on both Japanese cinema and Mizoguchi's film style, during this period. Firstly, it will analyse this period in terms of politics and the rise of nationalism in a socio/political context. Secondly, I shall examine how cinema was subject to strict censorship, and how Mizoguchi responded to this. Lastly, the paper will explore both Mizoguchi's personal, and professional position during this period in which the director worked. Mizoguchi's film style changed quite dramatically during this time, and here there are questions to be considered. Did the director have to develop a film style which embraced a more Japanese aesthetic at the level of mise en sc?ne? If so, was this a conscious decision or, one where the director instinctively resorted to motifs and modes of expression rooted deeply in traditional Japanese culture? With this in mind, and by offering a deep textual reading, two key films of this period will be considered, Genroku Chushingura (1941-1942), and Meito Bijomaru (1945). By employing a reading which is reliant upon the contemporary socio/political climate, and the influence of traditional art, will allow us to understand both the pressure, creative restriction, and the ideology of an artist working during a particularly turbulent and harrowing period of Japanese history.20世纪30年代末至40年代初，日本正处于政治剧烈动荡与社会变革的历史阶段。军方对国内政策的影响力与日俱增，民族主义思潮的主导地位对电影的社会角色与电影创作者的创作自由产生了深远影响。即便是已获业界认可的导演沟口健二（Kenji Mizoguchi），也未能幸免这些严苛的创作限制。本论文将剖析此时期对日本电影业与沟口健二电影风格均产生深远作用的三大核心要素：其一，将从社会政治语境出发，解读该时期的政治局势与民族主义的崛起；其二，探讨电影所承受的严格审查制度，以及沟口健二对此的应对策略；其三，探究这位导演在此创作阶段的个人与职业处境。此时期沟口健二的电影风格发生了显著转变，由此衍生出诸多值得深思的问题：导演是否必须发展出一种在场面调度（mise en scène）层面更具日本美学特质的电影风格？若确有其事，这究竟是有意识的主动选择，还是导演本能地诉诸植根于日本传统文化的表现母题与表达手法？基于上述视角，并通过深度文本细读，本文将考察此时期的两部关键作品：《元禄忠臣藏》（Genroku Chushingura，1941-1942）与《名刀美女丸》（Meito Bijomaru，1945）。结合当时的社会政治环境与传统艺术的影响展开解读，将有助于我们理解这位艺术家在日本历史上这段动荡不安、令人痛心的时期所承受的创作压力与限制，以及其创作背后的意识形态内核。