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• W182495246 abstract "Departures is a 2008 film about an unemployed musician who takes a job as undertaker, mistakenly thinking that this new job has something to do with traveling. The film opens with the scene of a car driving through a blinding blizzard. This scene denotes the snow- heavy winter that is characteristic of Yamagata, a northeastern region of Japan, where the film was shot. The pure white snow falling from the grey sky also prepares the viewer for the somber atmosphere of death and mourning foreshadowing an upcoming scene of a funeral. In a flashback, the film takes the viewer to the time when the protagonist, Daigo Kobayashi, discovers that his orchestra had just disbanded, ending his professional career as a cellist after playing Beethoven's Symphony No.9 for the last time.1 Optimistically, Daigo and his cheerful wife Mika decide to relocate from Tokyo to his hometown in Yamagata and embark on their new life, living in the little house which Daigo's deceased mother left for her only child. Their optimism, however, is short-lived. One day, Daigo sees a help wanted ad in the newspaper for a business called the NK Agency. The viewer is soon informed that these initials, NK, stand for n?kan, or casketing a corpse. Thinking this is a travel company, Daigo imagines himself helping clients plan their tours. When Daigo shows up for an interview with Mr. Sasaki, this funeral-home owner blithely explains that there was a typo in the ad and the job actually entails preparing bodies for burial. Daigo's thoughts of working as a travel agent quickly dissipate. Yet, he takes the job because of his urgent need for income. This job pays over $500 on the first day, quite a generous wage for a start-up mortician. As Mr. Sasaki's undertaker apprentice, Daigo begins to arrange a special kind of travel: the deceased's eternal journey to the afterlife.A top box-office film of the year in Japan, Departures was awarded the Grand Prix at the Montreal World Film Festival in 2008, and then the Oscar for Best Foreign Language Film in 2009, indicating that the film's appeal went far beyond domestic audiences. Many themes in the film's story of life-altering events are indeed human experiences that cross cultural boundaries. The story reveals a deeply wounded father-son relationship, as well as a family's grief over a transvestite youth who committed suicide. Director Y?jiro Takita (Onmy?ji, Onmy?ji II, and The Yen Family, or Kimura-ke no Hitobito) stated in an interview that the film also depicts a man who makes life-altering choices during a time of unemployment.2 Furthermore, Takita appropriately treated the grim theme of death with a healthy mixture of humor and plot twists. Media reviews of the film, such as ones written by Roger Ebert,3 similarly highlight the film's topics to which American audiences can relate easily: discrimination against the job of dealing with corpses, rough spots in a young marital relationship caused by financial and communication issues, love and respect for the deceased shown on a sophisticated level, and so on. One rare review by Mark Schilling describes the film in a more cultural framework, reflecting upon his own experience at a funeral in Japan.4 Even though he initially points out that this film showcases a type of Japanese death custom, Schilling shifts the focus of his film review to more common human experiences, such as social prejudice, marital discord, and the reaffirmation of life upon witnessing death.As emphasized in the media reviews, this film does feature contemporary social and personal issues that are beyond the confinement of spiritual roots. In this paper, however, I focus on teasing out religious metaphors derived from religious views on death and bereavement that were not explored by the media reviews and examining these metaphors at a deeper cultural level.5 I certainly do not claim that my analysis is the only correct interpretation of this film. Rather, the purpose of this paper is to augment the media's more universal, humanistic interpretations of the film with a culture-specific analysis by identifying and explicating religious tropes (i. …" @default.
• W182495246 created "2016-06-24" @default.
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• W182495246 date "2013-04-01" @default.
• W182495246 modified "2023-09-22" @default.
• W182495246 title "Shinto and Buddhist Metaphors in Departures" @default.
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