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- W2341068305 abstract "And they say ‘the postwar is over.’” That famous 1956 government proclamation notwithstanding, the postwar was not yet over, at least not quite in 1958, when this film takes place. Still, Japan then could seemingly look forward to better days ahead. Or at least that is how we now often imagine the high-speed growth era (1955-73), and Always is happy to affirm this standard historical narrative of postwar optimism. The pedagogical value of this drama lies in both its content and form. In its cozy, fictional depiction of life in a Tokyo neighborhood (Atagochō, near Tokyo Tower), Always effectively visualizes many staples of textbooks and lectures. One example is the prolifera tion of mass consumer culture, as captured by the so-called “Three Imperial Regalia” of postwar materialism (i.e., television, washer, and refrigerator). Television especially, as a vehicle of mass content, helps galvanize the community. Always conveys a sense of ongoing physical change, and the results of that change can be verified in the classroom by compar ing the dusty and woody pre-Olympics neighborhood in the film to a Google Street View of present-day Atagochō and its now typically Tokyo steel-and-concrete cityscape. Tokyo Tower, whose construction began in 1957 and grows ever taller in the course of the film, stands as an icon of irrepressible industrial expansion and lofty aspiration here. It is in the shadow of this inspiring monument that the baby boom children in the film come of age, enthralled by science fiction and dreaming of a prosperous, technologically dazzling future" @default.
- W2341068305 created "2016-06-24" @default.
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- W2341068305 date "2012-01-01" @default.
- W2341068305 modified "2023-09-27" @default.
- W2341068305 title "Looking Back and Looking Up in Postwar Japan: A Review of Always: Sanchōme no yūhi (2005)" @default.
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