Abstract
The article aims to illuminate the intersections of reflexivity, national cinema, and male hegemony in Takeshi Kitano’s award-winning film Hana-bi (1997). Hana-bi marks a transition to a discourse espousing Japaneseness, particularly the dominant male versions of national identity in Kitano’s filmmaking. The article assesses the impact of reflexivity that plays a crucial role in the discourse. To demonstrate these ideas, this article is separated into two sections. The first section discusses the problematic concepts of national cinema, analyzes the cultural and industrial contexts that informed Hana-bi, and illustrates the way in which the film reinforces the Japanese national essence and gender norms. The second section highlights the functions of reflexivity used in the film, drawing from the critical concept developed by film and television scholar Jane Feuer (1982).
Highlights
The article aims to illuminate the intersections of reflexivity, national cinema, and male hegemony in Takeshi Kitano’s award-winning film Hana-bi (1997)
With a focus on discussing reflexivity in line with the terminology used by film and television scholar Jane Feuer (1982), the second section explores the engagement of Hana-bi with the construction of Japan, and its national cinema
Some reflexive devices in Hana-bi demonstrate the operation of the global film industry and drawing attention to Western hegemony and the conventional grammar of national cinema that caters to international film festivals
Summary
The article aims to illuminate the intersections of reflexivity, national cinema, and male hegemony in Takeshi Kitano’s award-winning film Hana-bi (1997). Hana-bi is Kitano’s first film to feature family, justify violence, and present a positive view of the Japanese culture and masculinity. This work explores reflexivity, national cinema, and male hegemony as interconnected in Kitano’s award-winning film Hana-bi (1997).
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