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Abstract

Samuel McGuinness offers a comparison between two of Yasujiro Ozu’s films, I was Born But (1932) and Good Morning (1959), films connected by similar imagery and themes of parent-child relationships and the interrogation of patriarchal authority. At the same time, the films are thirty years apart and inevitably reflect shifting context. McGuinness explores these contexts of increased militarism in the early 1930s versus the encroaching Westernized modernism of the 1950s. McGuinness elaborates the ways in which Ozu tackles societal conflict by blending humor and stark reality, looking at these issues through the eyes of children growing up in two tumultuous histories of Japan.


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