Late Ozu: New Generation and New Salaryman Film

2017 ◽  
Author(s):  
Woojeong Joo
Keyword(s):  
Middle Class ◽  
Everyday Life ◽  
Film Industry ◽  
Class Consciousness ◽  
New Wave ◽  
Generational Conflict ◽  
Critical Perspective ◽  
Commodity Culture ◽  
Good Morning ◽  
New Generation

This chapter covers the last years of Ozu’s career in the late 1950s and early 1960s, when Shochiku and the director himself were confronted by the younger generation’s challenge to established styles of everyday realism. The first part discusses the contextual basis of this change, from economic recuperation of postwar Japanese society, to the new wave of film industry, as epitomised by the boom of Nikkatsu’s Sun tribe films and the appearance of television. It is suggested that Ozu, though adopting certain aspects of the new changes, essentially maintained his styles and subject matters of urban everyday life and generational conflict, albeit with lesser critical perspective. This can be reflected in his ‘new salaryman films’ of this era, a genre that inherits the middle-classness of the shōshimin film, but with a brighter tone as to class consciousness, anticipating the appearance of television hōmudorama (home drama) genre. In the second part, such new salaryman films as Good Morning (1959) and An Autumn Afternoon (1962), are critically analysed, in terms of their active acknowledgement of new commodity culture and the ensuing banality of middle class everyday life.

A “Magic and Poetic” Moment of Dissensus: Aesthetics and Politics in the June 2013 (Gezi Park) Protests in Turkey

2017 ◽  
Vol 20 (2) ◽  
pp. 191-208 ◽  
Author(s):  
E. Attila Aytekin
Keyword(s):  
Middle Class ◽  
Cultural Capital ◽  
New Wave ◽  
Aesthetics And Politics ◽  
Cultural Symbols ◽  
Protest Movement ◽  
Political Position ◽  
Predominant Form ◽  
The Relationship

This article departs from analyses that underline the middle-class character of June 2013 (Gezi Park) protests in Turkey by focusing on the relationship between politics and aesthetics in the protest movement. The predominant form of protest in the movement was aesthetic political acts, which did not bring about any distinction based on class or cultural capital. Rather, the artistic practices and cultural symbols employed by protesters bridged gaps by bringing a large and diverse body of people around a common political position. The June protests constituted a moment of “dissensus” in the Rancièrean sense as the shared position was based on an essential claim for equality of the dēmos and the demands of the anonymous to be seen, heard, counted in, and to partake. The article focuses on the role Second New Wave poetry played in the protests, as the protesters appropriated the ironic and ambiguous verses of the Second New Wave poets to create a unified movement.

Kollektivhus: the Swedish model

2021 ◽  
pp. 92-97
Author(s):  
Claes Caldenby
Keyword(s):  
Middle Class ◽  
Household Work ◽  
New Wave ◽  
Housing Projects ◽  
Swedish Model

Today there is a new wave of co-housing internationally. Co-housing is here understood as collaborative housing, based on collaboration between residents on cooking and house maintenance, a new phenomenon since the 1980s. Sweden has a tradition since early modernism of kollektivhus, collective houses, in multi-family dwellings with employed staff managing household work. In Sweden today there are only some 40 true kollektivhus or co-housing projects, while ordinary Swedish postwar multi-family dwellings have common facilities that potentially would make them co-housing. Co-housing is often seen as a sustainable house form, but a problem is that they mainly reach middle-class residents.

Translation and Its Affects

2018 ◽  
Vol 47 (1) ◽  
pp. 203-215
Author(s):  
William A. Cohen
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
French Language ◽  
Cultural Norms ◽  
The Novel ◽  
Language Competence ◽  
Vanity Fair ◽  
Good Morning ◽  
Do So

Vanity Fair (1848) famously opens with a departure. As Becky Sharpe flounces off from Miss Pinkerton's academy, she takes leave of her patron by telling her “in a very unconcerned manner … and with a perfect accent, ‘Mademoiselle, je viens vous faire mes adieux.’” Miss Pinkerton, we learn, “did not understand French, she only directed those who did: but biting her lips and throwing up her venerable and Roman-nosed head … said, ‘Miss Sharp, I wish you a good morning’” (7). This performance of befuddlement on the part of a respectable schoolmistress bespeaks a whole collection of Victorian cultural norms about language competence in general and about the French language in particular. Even though the action is set in a period when Becky's speaking “French with purity and a Parisian accent … [was] rather a rare accomplishment” (11), the novel was written for a mid-nineteenth-century audience that could mainly count on middle-class young ladies to have acquired this degree of refinement—or at least to aspire to do so.

The Buddhist Style in Consumer Culture: From Aesthetics to Emotional Patterns

2021 ◽  
Vol 14 (1-2) ◽  
pp. 28-54
Author(s):  
Zuzana Bártová
Keyword(s):  
Czech Republic ◽  
Middle Class ◽  
Everyday Life ◽  
Consumer Culture ◽  
Personal Development ◽  
Well Being ◽  
Ethnographic Research ◽  
The Czech Republic ◽  
Identity Style ◽  
And Behavior

Abstract This paper contributes to the sociological theorization of religious lifestyles in consumer culture, analyzing one of its most important identity markers: style. Based on a three-year comparative ethnographic research project into five convert Buddhist organizations in France and the Czech Republic, it finds that style is expressed through aesthetics with its adornment practices apparent in everyday life materializations of Buddhist symbols. The stylistic dimension is also found in practitioners’ attitudes towards Buddhism, as they may use the discourse of taste. Moreover, Buddhist style stands for the collective, coherent, and systematic emotional patterns expressed in Buddhist symbols, individual and collective experiences, and the ethics and behavior they display in everyday life. The paper also explores how this style is adapted to the educated, middle-class, city-dweller practitioners and how it respects dynamics of consumer culture with its emphasis on identity, style, and values of well-being, authenticity, and personal development.

Introduction

2017 ◽  
Author(s):  
Robert Wuthnow
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Everyday Life ◽  
American Dream ◽  
Philosophy Of Life

This introductory chapter discusses how Americans in the nineteenth century pursued the American Dream. It argues that moving the American Dream from the stratosphere in which it is often discussed into the mundane realities of everyday life forces it to be considered differently. The topics of relevance cease to be the long-term trajectory through which protagonists rise from rags to riches and become instead questions about the immediate contexts in which people live. It suggests that what we might call middle-class respectability gets us further than continuing to discuss the American Dream as an ideal or philosophy of life. Middle-class respectability was something that people may have aspired to as an ideal, but it was modeled, learned, and exhibited in practice.

Temporality in Mobile Lives

2021 ◽  
Author(s):  
Shanthi Robertson
Keyword(s):  
Young People ◽  
Middle Class ◽  
Everyday Life ◽  
21St Century ◽  
Intimate Relationships ◽  
Lived Experiences ◽  
Career Pathways ◽  
Work Study ◽  
The West ◽  
Transnational Mobility

This book provides fresh perspectives on 21st-century migratory experiences in this innovative study of young Asian migrants' lives in Australia. Exploring the aspirations and realities of transnational mobility, the book shows how migration has reshaped lived experiences of time for middle-class young people moving between Asia and the West for work, study and lifestyle opportunities. Through a new conceptual framework of 'chronomobilities', which looks at 'time-regimes' and 'time-logics', the book demonstrates how migratory pathways have become far more complex than leaving one country for another, and can profoundly affect the temporalities of everyday life, from career pathways to intimate relationships. Drawing on extensive ethnographic material, the book deepens our understanding of the multifaceted relationship between migration and time.

‘They wanted a bigger, more ambitious film’: Film Finances and the American ‘Runaways’ That Ran Away

2021 ◽  
Vol 18 (2) ◽  
pp. 176-197
Author(s):  
Llewella Chapman
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Financial Resources ◽  
Film Production ◽  
New Wave ◽  
Tom Jones ◽  
The 1960S ◽  
Karel Reisz

From the early 1960s, the British film industry was increasingly reliant on American studio financed ‘runaway’ productions. Alexander Walker identifies United Artists and Universal Pictures as two of the major players in the trend he dubbed ‘Hollywood England’. This article offers a close examination of the role of two studios in the financing of British film production by making extensive use of the Film Finances Archive. It focuses on two case studies: Tom Jones (1963) and Isadora (1968), both of which had completion guarantees from Film Finances, and will argue that Tony Richardson and Karel Reisz, two of the key British New Wave directors, lost their previous ability to direct films to budget and within schedule when they had the financial resources of American studios behind them. It will analyse how, due to a combination of ‘artistic’ intent and Hollywood money, Richardson and Reisz separately created two of the most notorious ‘runaways’ that ran away during the 1960s.

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