Bloodshed, Firecrackers and Tears–The Best Japanese Movies Of The Heisei

By Kaori Shoji

Want to talk about movies?
From the vantage point of a film writer, the Heisei Era (January 8, 1989 to April 30, 2019) felt like a relationship that neither party had the courage to end. You know – the one where the occasional moments of joy are almost enough to blot out the periodic outbursts of blah. On the plus side, the collapse of the studio system and the rise of the PIA Film Festival’s indies support system enabled young directors to go from “mom, I think I’ll make movies for a living” to getting listed on imdb.com in an unprecedented short span of time.
On the minus side, budgets dried up as the economy sank into the mires of a 20-year recession. Japanese movies lost the clout points earned by the cinematic giants of old, like Akira Kurosawa and Kenji Mizoguchi. The films that came out were drastically reduced in scale. In the meantime, rival filmmakers in China and South Korea emigrated to Hollywood and stunned the world with grandiose, mythical stories funded by mega-budgets.

Still, we kept slingin’ that hammer because deep down in the recesses of our souls, we suspected that this is as good as it gets. Here’s a guide to take you through the most memorable movies (including the bad, the good and the ugly) that adorned the Heisei era – in random order.

1) Spirited Away『千と千尋の神隠し』2001
Directed by Hayao Miyazaki

顔無し (NoFace)

In many ways, Heisei belongs to Hayao Miyazaki, who at 78, remains Japanese anime’s biggest influencer. As co-founder of anime production company Studio Ghibli, Miyazaki’s works have always been gorgeous to look at but not always easy to understand; he has always avoided there feel-good formulaic plots favored by of Disney, designed to make everyone feel special and loved. Instead, the grand master of Nippon Anime has loftier plans. Part of it comes from his love of flying – Before WWII, Miyazaki’s family owned and operated a small aircrafts manufacturer and apparently, he was drawing airplanes before he could walk. What Japanese film critics describe as the “soar factor” is prevalent in almost every one of Miyazaki’s films, a sensation of flight, freedom and autonomy as the characters aim for the sky and struggle to gain control over their destinies. In Spirited Away,the soar factor is embodied by a flying dragon, and an impossibly high staircase that 10-year old protagonist Sen must navigate several times each day, if she is to survive and rescue her parents who have been changed into pigs. Spirited Away is a great piece of entertainment but it’s also classic Miyazaki – philosophical and stoic to the very last frame.

2) Minbo『ミンボーの女』1992
Directed by Juzo Itami

The Japanese Gentle Art of Extortion

In the west, Juzo Itami is best known for  Tampopo, a hilarious and sensual celebration of food. Minbo is far less light-hearted.

As the son of eminent prewar filmmaker Mansaku Itami, Juzo had always banked on his rich-kid image and a man-about-town snobbishness, both of which he deployed to full advantage in his films. But Minbo was a different breed. The story of a lawyer specializing in organized crime (played by Itami’s wife and leading lady Nobuko Miyamoto) hired to deal with yakuza (Japanese gangster) thugs, Minbo is dark and accusatory. The yakuza are depicted for what they are: childish, insecure bullies protected by clans interested only in profit (not honor, as most Japanese movies would have us believe). To prove his point, Itami swaps out Miyamoto’s trademark buoyancy for a rigid and sometimes leaden performance and the some of the action sequences seem over-the-top silly. Still, Minbo is probably Juzo Itami’s most important work, not least because it marks a crossroad in both his career and his life. After the release of Minbo, Itami was attacked by yakuza henchmen sent from the notorious Goto clan and got his face slashed up. Five years later, he jumped to his death from his office window. Whether Itami’s death was voluntary or enforced (by Goto’s men) remains an open mystery. 

3) The Shoplifters『万引き家族』2018
Directed by Hirokazu Koreeda

1) One Big Happy Family – clockwise from right, Mayu Matsuoka, Kirin Kiki, Lily Franky, Jyo Kairi, Miyu Sasaki and Sakura Ando. Title: The Shoplifters ©️2018 Fuji Television GAGA AOI Pro. Distributed by GAGA

One out of 7 children in Japan are living below the poverty line, with school lunches as their main source of nourishment. In Hirokazu Koreeda’s The Shoplifters, that number feels like more. Starring the always watchable Lily Franky and Sakura Ando as a down and out couple raising a 10 year old son in the ramshackle house of an elderly ‘obaachan (grandma),’  The Shoplifters won Koreeda the Palme D’Or at Cannes – the first ever for a Japanese director. The Abe Administration took offense at how Koreeda took the nation’s dirty linen and washed it in public so to speak. But The Shoplifters did wonderfully well at the box office, soaring to number 4 in the list of Japan’s highest grossing films of all time. One of the takeaways of this film is that in spite of their shoplifting, hand-to-mouth existence, the family is united by a fierce loyalty and is somehow, amazingly content – a rarity among Japan’s urban families mired in stress and societal pressure. A poignant and ultimately tragic film, The Shoplifters makes you want to see it again and again.

4) Ichi『殺し屋イチ』2001
Directed by Takashi Miike

Does Takashi Miike have nightmares and if so, what can they possibly look like? As the master portrayer of Japanese stab-and-slash violence, Miike is notorious for his unflinching dedication to drenching the screen in blood and gore. Ichi remains his most memorable work, not least because it stars the internationally respected Tadanobu Asano and the deadpan Nao Omori as rival yakuza henchmen ostensibly bent on revenging the death of their boss. The duo’s real objective however, turns out to be the high savored from killing as many human beings as possible, in the most gruesome of ways. The backdrop is Kabukicho, Shinjuku at the turn of the century, and Ichi’s glamorized violence makes the whole place look dangerously alluring. Present day Kabukicho has turned into a staid tourist trap with surveillance cameras placed in every nook and cranny, to nip violent incidents in the bud, apparently. No worries – even the yakuza go around with eyes glued to their phones.

5) Kamome Shokudo『かもめ食堂』2006
Directed by Naoko Ogigami

Heisei was an era in which many Japanese women categorically refused to get hitched and even more to give birth. The birth rate plummeted to an all-time low of 1.43. In 10 years, one out of five women (and one out of four men) are expected to live out their lives without ever having a partner which may strike the casual observer as a spectacularly tragic statistic. For director Naoko Ogigami however, the numbers are fodder for her particular genre of filmmaking. Kamome Shokudo is her breakthrough work that deal with a trio of single women who come together in Helsinki. One of them, Sachie (Satomi Kobayashi) runs a local diner and the other two (played by Hairi Katagiri and Masako Motai) decide to work there as well. The utter absence of emotional drama (but an abundance of great food) is incredibly healing as you realize that Japanese women may have more freedom and control over their lives than we thought. Best line: “Onigiri is the soul food of Japan.” 

6) Zan『斬』2018
Directed by Shinya Tsukamoto 

(C)SHINYA TSUKAMOTO/KAIJYU THEATER

Shinya Tsukamoto is a weird and wonderful film buff. For the entirety of the Heisei Era, he has acted, produced and directed his own films – always on a minuscule budget and a minimal number of staff. He even nabbed a part in Martin Scorsese’s Silence (for which he auditioned along with everyone else), prompting the great Scorsese to seek Tsukamoto out on set and shake his hand.  

Last year, Tsukamoto came out with Zan which he shot in less than a month and starred as a wandering samurai in the last days of the Edo Period. The film is brilliant for two reasons: 1) it highlights the samurai class as reluctant murderers who must cut people up to prove themselves, and 2) it shows up the brutally labor-intensive, muck raking poverty of late 19th century Japan. In the midst of the shit-logged ditch water however, you can almost glimpse that gem of hope. An unforgettable cinema experience. 

7) Tokyo Sonata『トウキョウソナタ』2008
Directed by Kiyoshi Kurosawa

Years have passed since Kiyoshi Kurosawa replaced Akira as the pre-eminent Japanese filmmaker with that surname. Though Kurosawa’s main turf is horror, (Cure, anyone?) Tokyo Sonata is arguably his best and most accessible work, drawing an unexpectedly stunning performance from former pop idol Kyoko Koizumi.

Koizumi plays housewife Megumi, who is ambivalent about her stay-at-home existence in the burbs while having no idea how to break out of her shell. Her husband (Teruyuki Kagawa) is a sarariman (salaryman) who has recently been fired from his job, but pretends to go to work every morning in his suit and tie. The couples’ two reticent teenage sons have plans and desires of their own, of which their parents know nothing. Each of the family members seem to be dancing to a different tune, audible only to themselves until one day, their hidden urges come tumbling out. A haunting beautiful story that amply illustrates the dreariness of Japan’s two-decade long recession.

8) 北野武監督
HANA-BI 1997年

Say what you like about comedian and filmmaker Takeshi Kitano, but there’s no denying that for about 20 years in the Heisei period, the man was the closest thing Japan had to a living deity. The man has a violent streak, as demonstrated in the 1986 attack on the offices of papparazi rag “Friday” for which he was arrested and found guilty (but got off with a suspended sentence). In 1994, a motor bike accident that would have killed another man landed him in the hospital for 6 months but before he got out, he went on the air and cracked jokes about his horribly disfigured face. 

In the Heisei era, Kitano made some unforgettable movies but HANA-BI, (meaning ‘fireworks’) is a masterpiece. He directed, co-wrote and starred as Nishi, a cop who has just lost a young son. The tragedy causes Nishi’s life to spin out of control, as his wife (Kayoko Kishimoto) is hospitalized and his buddy Horibe (Ren Osugi) is shot by a perpetrator. Later, Nishi quits the police force to takes his wife on a trip, intending to kill her before putting a bullet in his own head.

Though Kitano has always worked in comedy, he is rarely verbose and HANA-BI is amazingly reticent. The absence of explanatory dialogue matches the extraordinarily lovely visuals, drenched in dark blue and gray tones as the story traces the graceful arc of Nishi’s downfall.

9) “Helter Skelter” 『ヘルタースケルター』2012
Directed by Mika Ninagawa

Mike Ninagawa may have been born with a silver spoon but her talent (and personal struggle) is achingly real. As the daughter of Japan’s foremost theater director Yukio Ninagawa, Mika’s life was both charmed and cursed. Dad’s glorious reputation preceded her everywhere she went so perhaps it was natural for her to choose photography and film instead of the stage. Helter Skelter is her second feature and stars the enfant terrible of the Japanese film industry Erika Sawajiri, as a nymphomaniac actress who lives in fear of losing her beauty. To prevent this from happening, the actress periodically goes under the knife, endangering not just her health but her sanity as well. Helter Skelter is audacious, brilliant and gorgeously shot – and an astute observation of fame and celebrity-dom in Japan’s youth-obsessed media industry.

10) Still the Water 『2つ目の窓』2014
Directed by Naomi Kawase

Naomi Kawase had a chaotic upbringing –her parents more or less abandoned her when she was a baby and the filmmaker was subsequently brought up by a relative. In interviews, Kawase has said she has tried to understand her life by making films about families and indeed, her works show a special fascination (or obsession) with the family dynamic. Still the Water feels especially intimate – a coming of age tale set in gorgeous Amami Oshima island off the coast of Kagoshima prefecture. Two teenagers (Junko Abe and Nijiro MurakamiI) struggle with their roots as their parents fumble about, trying to come to terms with their own identities and personal desires. Miyuki Kumagai plays the island ‘yuta’ (shaman) who must face her own imminent death by cancer, as her family resents her apparent powerlessness over her fate. A film that feels like an solitary, introverted vacation by the beach. 

Book Review: Japanese Tattoos

By Taylor Drew

Coauthored by Brian Ashcraft, a senior contributing editor for the website Kotaku, and Osaka based tattoo artist Hori Benny, this book Japanese Tattoos: History * Culture * Design was written with the goal with the intention of helping those that are thinking of getting a Japanese style tattoo (perhaps most commonly known outside of Japanese as irezumi・刺青). Both authors use extensive knowledge of Japanese style tattooing and personal interviews to guide the novice away from committing any cultural faux pas in a work that spans 158 glossy pages.

“Over the course of researching, interviewing, and writing this book, we consulted numerous friends, colleagues, experts, and total strangers with the goal of introducing and decoding the most prevalent motifs so that English speakers can have a better understanding of their meaning and hopefully get Japanese tattoos that can be worn with pride – as they should be”

The book begins with an introduction to the history of irezumi in Japan, from punitive tattoos, to prohibition, and all the way back to modern times. This first section also covers briefly some reasons why Japanese tattoos have changed over time. The book is then divided into six additional chapters based on the different styles and motifs found in irezumi, with numerous sections in each chapter that clearly divide different motifs in that style. A tattooist and client profile are also included at the end of every chapter, giving life to the theme of that particular chapter. There are also information boxes that provide additional information to support the content within the main body of the work. All of this is supported with high quality, full colour images of tattoos and virtually every single page of the book.

What I found extremely impressive about this book was the sheer quantity and quality of the accompanying images. Not only are specific motifs and their meanings clearly explained, but the authors have also provided imagery and explanations of the images themselves. The reader is able to enjoy each and every motif – usually in more than one style. Both Ashcraft and Hori Benny did an exceptional job collecting the various photographs of irezumi for the book.

Perhaps my favourite aspect of the book though, was the addition of the Tattooist Profile and Tattoo Client Profile at the end of every single chapter. While the majority of the book reads, to an extent, like an irezumi dictionary of sorts, these sections brought extra life into the vast amount of information being provided. We, as readers, are given the opportunity to hear the voices of individuals that are not the authors. These sections are personal and provide a real solid look into the minds of the tattoo artists and their clients. We are able to see their views on irezumi and what they mean to them personally. The extra insight brought in by these sections is a crucial component in what makes Japanese Tattoos work – it makes the “foreign” content relatable.

That being said, the large amount of information that the book contains is also a weakness. There were certain sections that I found difficult to read. There are extra text bubbles of information throughout the book, but in some places their existence takes away from the overall flow of the work. The reader is obligated to both stop midsentence to go read the “extras” or move on and hope they don’t forget to go back and read them again. Such as,

“The fox (kitsune in Japanese) is associated with the formless Shinto deity Inari, who is sometimes depicted as male, other times as female and sometimes as gender-less. Inari is not only the god of rice, sake wine, and fertility, but also the god of metal workers and commerce. Stone fox statues often appear at the more than ten thousand officially recognized Inari shrines in Japan, and because the fox guards these shrines, the animal is often confused with the god. The pure white foxes, however, aren’t simply the god’s messengers, but also guard and protect the shrines. These foxes also carry connotations of wealth and fertility, due to Inari’s rice associations.” (pg. 57)

The Fox (Kitsune/狐) Tattoo is a joy to behold.

I found sections like this rather disjointing and it did affect my reading experience. Definitely not a problem for many readers, but something that I wish would have been laid out a little better, especially considering the high quality of the content on every single page.

Overall, Japanese Tattoos was a fascinating read and I would recommend it enthusiastically to anyone interested in tattoos or keen to learn more about specifically about irezumi. While perhaps the academic might find the content a bit shallow in terms of the historical content, it is important to remember that that is NOT the goal that Brian Ashcraft and Hori Benny set for this book. They wanted to create a resource for English speakers who wanted to get Japanese tattoos. A goal that I would say they accomplished with flourishing colours.

Taylor Drew is a new contributor to JSRC she is a Canadian living in Tokyo since 2015. (Almost) fluent in Japanese. Loves Iwate and cats. 

[令和]は暗黒時代の幕開けか

ニッポンの新時代『令和』は大嘘と大騒ぎに包まれ、5月1日に幕開けを迎えました。奇遇なことに、新しい元号の発表日はエイプリルフール(April Fools’ Day) と重なりました。エイプリルフールとは毎年4月1日には嘘をついても良いという西洋の伝統で、政府にとっては「令和」が「美しい調和(Beautiful Harmony)」を意味するというインチキ仮説を国内外で広める絶好の機会でした。文字通りに解釈するならば「命令と平和」。ついジョージ・オーウェルの陰鬱な小説を連想してしまいます。

もちろん、国民の大半は政府説明の胡散臭さを見抜いているばかりか、驚きもしませんでした。2019年1月の時点では、日経新聞の世論調査で、「政府の統計を信用しない」と答えた人は79%でした。 

政府統計「信用できない」79%

日本を取り戻すって?どこへ?

つまり、日本人の五人に四人は政府が発表する統計が事実だと思っていません。オオカミ少年政権といえるでしょう。その背景には、安倍政権が2014年5月30日の内閣人事局設置以来、官僚を手懐けてきたことが挙げられます。また飴と鞭でマスコミを支配しているだけでなく、公文書の廃棄·改ざんなども許しています。いや、「許している」というよりも共謀者にご褒美を与えて出世させています。この時勢で、不正を嫌って自殺する官僚は英雄です。森友学園関連の文書改ざんを倫理的に許せなかった英雄ですが、政府に全く賞賛されない英雄ですが。真実とともに葬られた被害者です。全面的に違法行為に加担し、偽証までしてくれた財務省の佐川宣寿・元理財局長は処罰されるどころか、隠蔽工作の腕前が認められ、出世の階段を早々と登りました。

しかし、安倍総理と右腕の管官房長官らが不都合な事実の隠蔽工作を全部官僚に任せっきりというわけではありません。仲間のためなら強姦容疑の捜査も中止したりするなどして(ご参照→安倍総理の太鼓持ちジャーナリスト・山口敬之氏による伊藤詩織さんレイプ疑惑 なぜ逮捕状は中村格刑事部長によって止められたのか――? 超党派の国会議員が警察庁・法務省を徹底追及!)「上級国民」の防衛に奔走しています。安倍総理内閣の人々は自己利益及び仲間の利益を死守するには、「嘘も方便」と弁えている勇者です。

確かに人間は嘘をつく生き物だといいますが、いくら自分自身に嘘をつき、さらには国民にまで騙せたとしても、いずれは現実という不都合にぶち当たるでしょう。

『クールジャパン』改め『クルールジャパン”Cruel Japan”』

非情な国の行く末

ここ数年日本政府は“クールジャパン”の名の下観光大国のイメージを全面に押し出してきました。しかし現実はといえばヒトラー狂の金持ちらが国を操り、報道の自由は勢いよく右肩下がり、蔓延る貧困問題、公的文書改ざん、あとを絶たない過労死、腐敗しきった官僚主義、そして中世から変わらない司法制度と、まるでパンドラの箱の開けてしまったかのような惨状が広がっています。そこに追い打ちをかけるかのように、福島のメルトダウンをものともせず原発再稼働を急ぐ政府はあっぱれとしか言いようがありません。

もちろん、人口減少に高齢化も忘れてはなりません労働環境はといえば、低賃金、産休もろくに取れず(父親の育休など論外)、慢性的な保育園不足に過度の長時間労働。そんな生活では男女ともに恋愛、結婚ましてや子育てなど望めるはずがありません。

シングルペアレントとして子育てなどもってのほかです。もし女性がシングルマザーとなった場合、50%の確率で貧困ライン以下の生活を強いられるでしょう。人手不足で倒産を余儀なくされる企業も後を絶ちません。

人手不足ともなれば女性の躍進を期待しそうになりますが、男尊女卑大国ニッポンではそうもいきません。世界経済フォーラムの2018年の男女平等格差調査で149ヵ国中、日本は110位でG7最下位です。

今後ますます深刻化する人手不足への対策として政府は外国人労働者受け入れを拡大する計画を推し進めています。しかしこれまでに沢山の外国人労働者が搾取されてきた技能実習制度の問題点を置き去りにしたこの政策は、根強い外国人嫌いが蔓延する日本では失敗に終わること間違いありません。

令和のハイライトとなる2020年東京オリンピックですが、安倍首相は自身のレガシーに華を添えてくれると期待しているのでしょう。

そんなオリンピックですが、賄賂で招致した上、ヤクザも絡む堕落っぷり。さらには誘致時想定予算の7,000億円が、いつの間にか「3兆円」まで膨れ上がっています。極めつけに開催は真夏の8月、酷暑の中日射病による死者、さらには対応に追われる病院を襲う数々の危機は計り知れません。

また、トリクルダウン理論に則ったアベノミクスも失敗とみなされ始めていいます。東京商工リサーチによれば、中小企業の倒産は上昇傾向にあり、アベノミクス成功論はそもそも改ざんされたデータを根拠にしている可能性も否めません。

一方、政府が年金資金を用いて日本の株式市場を底上げしようとした結果、高齢化する国民が年金を受給できなくなる危険性が浮上しています。 公的年金を運用する年金積立金管理運用独立行政法人(GPIF)は今年2月、昨年10~12月期で14兆8039億円(うち半分は国内のシェア)の運用損が出たと発表しました。このような損失が続けば、高齢者への年金支給への支障をきたすと見られています。

令和の未来はそう明るくありません。

名前に込められた意義

 令和時代は4月30日、平成天皇陛下の生前退位によって始まりました。安倍政権は平成天皇の生前退位に反対されていましたが、遂に阻止することはできませんでした。

平成天皇が生前退位の意志を表明した結果、安倍政権の改憲運動に歯止めがかかりました。天皇は国の象徴として力強い存在です。天皇が日本人の日常生活に登場することも多く、天皇にまつわる祭日は5つもあります。使い勝手が面倒臭くても「元号」は意義深いものです。

一方、安倍総理と仲間らは神道的カルト集団でも右翼系圧力団体でもある「日本会議」に支えられています。日本会議が米国の”押しつけ憲法”

を排除して帝国時代の憲法を復活させたいのです。日本会議の息が掛かった政治家にとって、一番気に喰わない現代日本の思想といえば「基本的人権」「平和主義」「国民主権」です。安倍総理と彼が任命した 大臣らが信仰としていることは基本的に5つです。

①日本は神の国である

②第二次世界大戦で防衛戦であり、日本に戦犯はない

③再び天皇を元首にして神様として崇拝すべき

④ 少子化の悪因は男女平等主義である

⑤米国の押しつけ憲法が日本をだめにしている

皮肉なことに平成天皇は80歳の誕生日記者会見で、米国へ感謝の意を述べて憲法·平和主義の大切さを訴えました。 平成25年12月18の宮殿石橋の間で次のように話しました。「戦後、連合国軍の占領下にあった日本は、平和と民主主義を、守るべき大切なものとして、日本国憲法を作り、様々な改革を行って、今日の日本を築きました。戦争で荒廃した国土を立て直し、かつ、改善していくために当時の我が国の人々の払った努力に対し、深い感謝の気持ちを抱いています。また、当時の知日派の米国人の協力も忘れてはならないことと思います」。

平成天皇は30年の公務の中で繰り返して平和憲法を守る重要性をアピールしてきました。「押しつけ憲法」解体を企む安倍総理らとは対照的です。安倍総理だけでなく、日本会議と自民党の一部にとっては、天皇陛下の存在そのものが邪魔者だったようです。安倍総理らが天皇陛下を神様と崇拝しながら、その神様の発言が彼らの政策に反対しているので、困っていたでしょう。続く令和天皇(徳仁天皇陛下)も平和主義者のようです。「歴代の天皇のなさりようを心にとどめ、自己の研鑽に励むとともに、常に国民を思い、国民に寄り添いながら、憲法にのっとり、日本国及び日本国民統合の象徴としての責務を果たすことを誓い、国民の幸せと国の一層の発展、そして世界の平和を切に希望します」(令和元年5月1日)

非常に不思議なことです。日本会議や安倍総理らは天皇陛下を神様と崇拝しながら神様のいうことを聞かぬのです。それは一種の冒涜ではないでしょうか。

安倍総理が理想としている国を知りたければ、このビデオを見て下さい。戦慄を覚えるはずです。平成24年5月10日、憲政記念館にて行われた自民党内の「創生日本の研修会」での様子です。 

その中で、第一安倍政権(消化が悪かった第一安倍政権)の長勢甚遠元法務大臣が憲法から「平和主義、国民主権、基本的人権削除しよう!」と言っています。素朴な疑問ですが、憲法の精神と基本的人権を否定する輩を法務大臣に任命する安部総理には果たして良心というものがあるのでしょうか。

ビデオを見ると、元法務大臣らが「国民主権、基本的人権、平和主義…この3つを無くさなければ、ほんとの自主憲法にならない」と叫び、出席者からは拍手が鳴り響いています。平和憲法を守ろうと誓った平成天皇が拍手するはずがあるでしょうか。

余談メモ·この会議で、「尖閣諸島を取り戻せ」と叫ぶ人もいたようです。それは基本的には賛成です。不当にも「反日」と後ろ指を指される私からしても、個人的には尖閣諸島を中国から守ることは大切だと思います。明らかに尖閣諸島は日本の領土ですから。それだけは間違いないでしょう。

「令和」誕生まで

令和という元号はどのように決定されたのか明らかではありません。しかし文字通りに解釈するのが妥当といえるでしょう。「令」は「命令」の「令」です。複数の文献をみると次のような意味でよく知られています。

①「命ずる」、「いいつける」

②「法令などを世の中に広く知らせる」

③「みことのり(天皇の命令)」、「君主(国を治める人)の命令」

また「令和」の「令」は「箝口令」の「令」でもあり、「逮捕令状」の「令」でもあります。「和」は表向きに「平和」の「和」で「穏やか」「なごむ」などの意味です。口の部首と米の穂先が茎の先端に垂れかかるイメージから出てきた漢字といわれてます。また、もう一つ「やまと(日本)」の意を持ち合わせています。つまり、「日本人よ、命令に従えば平和ですよ」というような意味合いではないでしょうか。「万葉集から引用された」という説明はおそらく後付けでしょう。一部の新聞報道を読んでみると、実際、新しい元号を「令和」と決めたのは安倍総理です。彼のまったくの独断で「令和」となったのです。しかしここまでくれば、それも想定内のことでしょう。この記事を御覧ください。

安倍首相が統計不正追及に「だから何だってんだ!」と逆ギレ野次!「私が国家」とまた独裁発言もポロリ

本題に戻りましょう。「命名」という行為にはどれだけ意味があるのでしょうか。確かに安倍政権は命名の達人です。特に名前と全く反対の意味を持つ法律の作成·立法化には腕が成るようです 。危険すぎるとして何回も見送られた「共謀法」を「テロ対策特別措置法」と名前を変えて無理矢理議会を通しました。この法律によって捜査·逮捕の対象となる「共謀罪」対象犯罪は277種類に上ります。やはり、「無資格スポーツ振興投票」などのテロ行為を厳密に処罰しなければ、この国は終わりですね。SNSも対象となるので、「テロ関連情報」と見なされる呟きを拡散しただけでもアウトかもしれません。

しかし、安倍政権流のダブルスピーク(受け手の印象を変えるために言葉を言いかえる修辞技法)は日本製のウイスキーのように毎年、質が上がります。「働き改革」法は数千人から残業代の権利を奪い、一ヶ月の残業時間を100時間と限定したものです。しかし、それは厚生労働省の過労死ライン(80時間)を20時間も超えているのです。また、安倍政権のダブルスピークの中では、戦争行為を可能にした安全保障関連法「戦争法」がやはり傑作でした。

安倍政権の「令和」の世界では、まるでジョージ·オーウェルの小説「1984年」内で描かれた社会が現実となりまそうです。もうそろそろ学校の教科書では「戦争は平和である(WAR IS PEACE)。安保法は平和主義の法律」「自由は屈従である(FREEDOM IS SLAVERY)。残業代は鎖」

「無知は力である(IGNORANCE IS STRENGTH)。自由民主党は報道の自由と国民主権を大事にしている」とか明記されることでしょう。

詰まるところ、安倍政権のこれまでの言動を考慮すると、安部総理が「令和」の意味を「綺麗な調和」(Beautiful Harmony)」と語るならば、まず疑ってみた方が良いのではないでしょうか。

「綺麗な調和(Beautiful Harmony)」よりも「暗闇の虐政(Stark Tyranny)」の意味合いが込められているかもしれません。

あまり知られていませんが、令和天皇は歴者学者です。歴史から学び、二の舞いを演じないよう平和主義と基本的人権を肯定的に考えているわけです。安倍総理は戦犯として逮捕された故·岸信介元総理大臣の孫だけでなく岸元総理の生まれ変わりのような歴史修正主義者です。だからこそボンボン総理は歴史から何も学べずに原発を再起動させてひたすら日本を暗黒時代へ取り戻そうとするわけです。このままいけば「令和」は「美しい日本」の暗黒時代の幕開けとなるでしょう。

メモ・この記事一部はThe Daily Beast 5月1日付け「Japan Has a New Emperor and a New Era, but a Dark Future」を引用しているが、直訳ではありません。ご了承下さい。


 

Mahjong Horoki 2020 – A Film Way Cooler Than Cool Japan

by Kaori Shoji

Note: Theories abound as to how mahjong originated in China. Some say the inventor was Confucius who played it, was hooked and ultimately abandoned it because of its addictive nature, some time in the 6th century B.C. In its present state, mahjong is played with 136 to 144 rectangular tiles, over a table seating 3 to 4 players. All the tiles are marked with Chinese characters and symbols.The goal of the game, simplified, is to get a mahjong, which consists of getting all 14 of your tiles into four sets and one pair. A pair is two identical tiles. A set can either be a “pung,” which is three identical tiles, or a “chow,” which is a run of three consecutive numbers in the same suit. A single tile cannot be used in two sets at once. In the west, the closest thing is gin rummy. In Japan, mahjong has been around since the 1900s and is a semi-legitimized form of gambling, provided the stakes are low. It used to be the favorite past-time of college students and bored reporters in the police press club.

Mahjong in an addiction that’s ageless.

On March 17, the day that character actor and performer Pierre Taki (real name: Masanori Taki) was arrested for possession of cocaine, the producers of the film Mahjong Horoki (Mahjong Chronicles) inwhich Taki appears in a significant role, held an emergency meeting. First item on the agenda: to open the film on the slated date of April 5, or to scrap it? Already the Japanese media was moving to make Taki disappear – all his endorsements, events and TV appearances were cancelled. A concert scheduled for this year’s Fuji Rock Festival, evaporated. NHK even rubbed out all of Taki’s scenes in their prime time Sunday night drama Idaten, (including those already aired), making preparations to shoot everything all over again. 

Taki had never sold on a nice-guy image but this scandal was huge, packing enough explosives to rock Mahjong Horoki 2020’s distributor company Toei, from its very foundations. After much discussion, the makers of the film – in particular director Kazuya Shiraishi, Taki’s long-time friend, pushed for a go. Letters were sent out to the press explaining the move, and why Shiraishi decided not to slash any of Taki’s scenes before opening. “Taki’s arrest is not the movie’s fault,” said the letter. Fair enough and a good thing, too. “Mahjong Horoki 2020” is weird, gross and ultimately appealing – it’s a celebration, among other things, of the sheer, raging wonders of the Showa era (1926 – 1989). So much, that the last 31 years of the Heisei era start to look like a bland, blah wasteland. As a line in the movie aptly describes it, “the only thing anyone does around here is to live a long, long time.” Ouch. 

Still, the Heisei era should be given credit for supplying Shiraishi with the iPhone 8, (eight of them to be exact) that he deploys in shooting the film. The colors schemes are too lurid, and the jittery, hand-held effect doesn’t really work in scenes with open spaces but the device is brilliant for close-ups, of which there is plenty, including Taki’s scary, deadpan visage. 

Taki plays a man called Mori – and he’s the kind of snide, rude, power-hungry asshole that Pierre Taki portrays to perfection. Mori is the director of the 2020 Tokyo Olympics, which is abruptly cancelled with the breakout of WWIII. A very pissed off Mori vows to hold an Olympics of something, and as the story progresses that something turns out to be mahjong. On the Friday that the movie opened, Pierre Taki was released on bail and director Shiraishi announced in a press conference that he hoped the Japanese public would “laud and encourage” Taki, once he was rehabilitated and reinstated as a media figure. 

Speaking of reinstated, another intriguing presence in the movie is Becky, the half-British, half-Japanese comedienne whose career was all but obliterated following a noisily publicized affair with a married musician. In Japan, infidelity is a serious offense among celebrities, perhaps more so than drug use. Becky was benched for over 2 years while her partner in crime came out relatively unscathed (which is another can of worms labelled gender discrimination). In “Mahong…,” she stars in a double role – first as a mysterious club hostess with incredible mahjong skills, and next as the android “AI Yuki,” programmed to win against the most talented mahjong player. 

As you may have guessed, Mahjong...is defined by and obsessed with, the titular game. Based on the first of the 4-part novel series by Tetsuya Asada (aka Takehiro Irokawa) published in 1969, Mahjong…recreates the blood, sweat and tears backdrop of Tokyo’s immediate postwar years as well as highlight the dark grotesqueness that often accompanies the game. Unlike pachinko, mahjong comes under illegal gambling and liable for prosecution, as in the case of a mayor who was arrested in the middle of a game in Fukuoka prefecture 3 years ago. Like pachinko however, the police turn a blind eye to most mahjong players and the “jyanso,” or mahjong houses that host them. As long as the stakes are low, the cops won’t come bursting in – theoretically. The crossover line is 200 yen at 1000 points, which roughly adds up to about 30,000 yen an hour for the winner. 

In Japan, one hears of fantastic mahjong stories, like the woman who won 550,000 yen on a single night and then lost double that amount in her next game. Or the guy who put up his home as collateral and how his wife and kids found themselves on the street even as he holed up in a jyanso to turn his luck. When it comes to addiction and self-destruction, mahjong players are in a league of their own and the tumble into the mud sludge of debt generally comes quicker than anyone bargains for. The consequences (since most jyanso are owned and operated by the yakuza) can be severe. Tetsuya Asada’s novel series laid it all out, tracing the life of the protagonist “Boya (which means little boy) Tetsu.” At first, Tetsu was a fresh-faced 16-year old mahjong rookie, being groomed for the game by the pros in Tokyo in 1945, when the city was nothing but ash and rubble. In the last volume, Tetsu is a salariman in his his early 30s, struggling to break free of his addiction (and failing) as Japan gears up to become the world’s number one economy. 

Mahjong Horoki was adapted to the screen once before, in 1984 by Makoto Wada. A young and perky Hiroyuki Sanada played Tetsu, and Mariko Kaga played his benefactor and the story’s mahjong goddess. Now in 2020, those roles have gone to Takumi Saito and Becky, respectively. Saito is best known for having cornering the market on degenerate, sexy dude roles but now in his late 30s, the role of Little Boy Tetsu may be a stretch (in the story, he’s also supposed to be a virgin. No way.). But to Saito’s credit, Tetsu’s addiction to the game oozes out of his every pore. The guy can only think of one thing: to sit at the mahjong table and play for the kind of stakes that, even if he wins, would destroy his soul forever. 


Japan has changed beyond recognition since Asada penned the original novel series, but addiction – as this movie abundantly illustrates – is a monster that never dies. 

Father accused of raping his daughter in Japan found Not Guilty, “She could have resisted” rules Nagoya court.

Today’s Asahi Newspaper, NHK and other media ran a story about an appalling ruling handed down in Nagoya Court on March 26th.

The father of a woman, who was 19 at the time of the alleged sexual assault, was tried on charges of quasi-rape (準強制性交等罪)after having non-consensual sexual intercourse with his daughter at their home in Aichi Prefecture in August and September of 2017.

Quasi-rape in Japan is defined as sexual intercourse taking place when the victim is unable to give their consent or say not. You may remember that a prominent friend of Prime Minister Abe, and also his biographer, was supposed to be arrested on charges of quasi-rape for an alleged attack on journalist Shiori Ito. In Ms. Ito’s case, she claimed to have been drugged and sexually assaulted. A high-ranking police office who was formerly the secretary to cabinet spokesman Yoshihide Suga, intervened to stop the arrest and later scuttled the investigation.

In situations where the victim is drugged or unable to refuse to have sex with an assailant, due to threats or danger to their life, charges of quasi-rape can apply.

The prosecutors argued that because of repeated violence and threats leveled against the daughter, that she was unable to say no to her father’s sexual demands. The defense argued that the sex was consensual—and even if she wasn’t able to resist, she still consented.

The court, in his verdict, recognized that the daughter had not consented. The judge even noted, “Because of the many years of sexual abuse [and other abuse], that she was mentally under the control of her father.” The court also recognized that she had been compelled have sex with her father since her second year of junior high. However, the final judgement was that she wasn’t completely under his control, “Therefore, there is a reasonable doubt as to whether she was really unable to resist.” Thus, her father was found not guilty of the charges. In other words, she could’ve resisted and she didn’t so Dad goes free.

Incest is not a criminal offense in Japan, although it was once in the past.

Masako Chiku*, the Nagoya Prosecutor, said they would consider appealing the case. Public reaction in Japan was of out rage and disappointment. In Japan, police are reluctant to pursue sexual assault charges; prosecutors routinely drop 50% of cases of sexual assault. According to one survey, 90% of Japanese women feel that Japan is easy on sexual offenders. In a country, where the Prime Minister’s pals get away with having quasi-rape investigations stopped before prosecution can even happen, you can kind of see where they are coming from.

What a different Japan it would be if the man accused of sexually assaulting Shiori Ito had been arrested, as was planned, and thrown into jail for 23 days, like Carlos Ghosn, and interrogated eight hours every day. But of course, this didn’t happen. He’s a friend of the Prime Minister. And he’s a Japanese man.

*The name of the prosecutor may be phonetically incorrect. In Japanese 築雅子次席検事

The high price of cocaine in Japan (metaphorically & literally)

by Kaori Shoji

The March 12 arrest of Pierre Taki (real name: Masanori Taki) for possession and usage of cocaine sent shock waves through the Japanese media. Now that April and the new Reiwa era has kicked in, the hew and cry over Taki’s fiasco has died down somewhat. And he is out on bail. And of course, he did a 30 second bow, after his release to show he was very very contrite. And yes, there is someone out there who actually counts the length of an apology bow. By the end of the Reina era, the average “bow of apology” is expected to stretch to 75 seconds. 

Would you be surprised if this yakuza-ish character in the game was a coke-fiend? Would you be less surprised if the actor playing him was a coke-head?

The repercussions however, are far from over. Pierre Taki went from being the frontman of synthpop/techno band Denki Groove to one of the most visible actors in Japanese film and television. Taki was never a lead man but with his deadpan humor and weighty presence, he had carved out a John Malkovich-like position and as such, the man is not easily replaceable. At the time of his arrest Taki had been working on a number of TV dramas including NHK’s prestigious Sunday night series Idaten. NHK has announced that they have deleted all of Taki’s scenes including the ones already aired. Apparently, NHK is shooting everything again from scratch, tripling the workload for cast and crew members while other major networks scrambled to cancel Taki’s scenes and appearances. All of Taki’s product endorsements were pulled out. Sales of Sega’s video game Judgement Japan in which Taki appears as a key character, has been stopped. 

Judgement Japan was a spin-off of Sega’s popular yakuza games series (龍が如く in Japan) and coincidentally, the series also had another actor retroactively removed from the a game after allegations of cocaine use were published. Even in a game about yakuza, it’s not acceptable for the actors playing the characters, who use drugs, to actually use drugs. In a show of moral consternation, Denki Groove’s music was subsequently yanked off the Net. 

Adhering to the Japanese custom in such cases, Taki’s elderly father has appeared in the media to apologize for the wrongdoings of his 51-year old son. The rest of Taki’s family (his wife for instance) has not been seen. 

According to news reports, Taki’s arrest cost the Japanese media over 3 billion yen in losses. That bill will be sent to Taki and it remains to be seen how he’ll deal with it. 

In the meantime, Taki seems resigned to his fate. The prosecution has released part of his statement attesting to a coke habit going back 30 years. “When I was in my twenties, I was doing cocaine and marijuana whenever I went abroad. After that, the habit stuck with me,” Taki reportedly said. Rumor has it that Taki in the full-statement added “I’m not the only one,” which sounds ominous. 

Speculations abound as to who’s next in-line to be busted for drug use. Japan has a reputation of being relatively drug-free, with the exception of amphetamines known as “kakuseizai (覚せい剤)” which has been around since the 1920s. Kakuseizai was and continues to be, a picker-upper used by many segments of the populace—especially yakuza and media celebrities. Interestingly enough, the drug is considered relatively harmless compared to the big baddies: cocaine and heroin. It’s also easy to lay hands on some of it, provided you have the cash and the right friends with tattoos. 

Cliched as it sounds, most clubs in Roppongi have V.I.P. rooms where people like Taki can stroll in, sit down and start inhaling shabu—the other name for the drug—referring to the dry mouth and thirst that comes with usage, as well as the tendency of habitual use to suck the life out of the addict. Street prices are now fixed at 70,000 yen per 1 gram, which is a third of the price of cocaine. Five years ago, kakuseizai peaked at 90,000 yen to the gram but the word on the street is that the suppliers have come to outnumber the users. 

Japan’s notoriously slow (or thorough, depending on how you look at it) narcotics investigators usually take 18 or so months to gather the evidence for a viable case, and another few months before actually making an arrest. A media analyst who wishes to remain anonymous, said: “I know of a case where the narcotics team spent three years trying to nab the president of a major ‘talent’ agency. They made sure the evidence was air-tight, went in and made the arrest. After all that, the president went free on a suspended sentence. The next year, he was back in business.”

Indeed, kakuseizai can tarnish a public image but not irrevocably. Former baseball superstar Kazuhiro Kiyohara is a case in point. In 2016 he was arrested for using and possessing kakuseizai but after the hullabaloo died down, Kiyohara reinvented himself as a rehab guru. His heavily confessional self-help books continue to sell and he makes frequent appearances on comedy shows. He has turned his misfortune into a second fortune. 

The aforementioned analyst explained: “If a celebrity is going to slip, he or she better make sure they’re big enough to withstand the fall. The bigger the name, the more lenient the sentence and the faster the comeback. Everyone in the entertainment industry understands this, which is partially why it takes so long for prosecutors to make an arrest. Everyone crowds around the golden goose, to protect and nurture. A lot of peoples’ livelihoods depend on the survival of that goose. The goose called Pierre Taki kept going for 30 years.” 

So is getting caught using drugs a by-product of this super-aged society? It’s sure starting to sound like it. Mega -stars like Aska, (of the music duo Chage and Aska) was arrested for kakuseizai abuse twice, but in his sixties he’s back on stage, touring the archipelago as a one-man show. 

Pierre Taki may not be so lucky. Compared to kakuseizai, cocaine constitutes a serious offense and it’s much more difficult to buy in Japan. Taki has never cultivated a squeaky  clean image but the overall verdict is that it will take him some time to bounce back from this one. Other celebrities arrested for coke include Shintaro Katsu, an iconic actor from the Showa era whose booze and womanizing lifestyle was in perfect sync with his yakuza roles. In 1990, Katsu (then in his late 50s) was arrested in Hawaii for possession of cocaine which he hid in his underwear. He was promptly deported back to Japan and arrested in Narita Airport but he never admitted where he got the drug and seasoned his trial with bawdy jokes. Katsu’s career and health deteriorated after that but when he died 7 years later at the age of 65–11,000 fans turned up for his funeral. 

“I know this is a bad thing to say, but many in the entertainment industry tend to view cocaine as a glamor drug,” said the journalist. “Being arrested for kakuseizai is pretty much run of the mill but a coke habit suggests money, connections and status.”

If this is true, we’ll surely be seeing Pierre Taki again. He may need the money, after all. 

Too Little, Too Late? Porn Mags Set to Disappear From Convenience Stores–And So Will Male Courage?

by Kaori Shoji

In Japan, the convenience store “baito” or part time job, is a rite of passage. Teenagers work at their neighborhood ‘conbini’ after school as a way of padding their allowances and college students work graveyard shifts to pay for living expenses. I did it, my friends did it. Most every Japanese person I know has worked at a conbini at one point or another. And in 2016, Sayaka Murata won the prestigious Akutagawa Literary Award with her autobiographical novel “Conbini Ningen,” in which the protagonist woman is addicted to her conbini job, to the point that she can’t think about anything else.

“I know it has a lot to do with the fact that I’m hyper sensitive but honestly, I feel that women shouldn’t have to deal with porn, especially in a convenience store. It’s sexual harassment.”

In case you think conbini work is boring and easy, let me tell you right now that the job calls for brains, guts and ace reflexes. For women, it’s often a test of mental endurance as well. A woman I know, in her late 30s, has been working the 9 to 7 shift at her local Family Mart for the past 5 years. She says the job is fine, except for one thing: she hates handling the porn magazines that comprise a “not insignificant chunk” of the store’s revenue. “I hate touching those things,” said this woman who has been diagnosed as an HSP. “I know it has a lot to do with the fact that I’m hyper sensitive but honestly, I feel that women shouldn’t have to deal with porn, especially in a convenience store. It’s sexual harassment.” Twenty-seven year old Reina, who quit an office job to work at a Seven Eleven run by her mother, says she feels “slightly sick” every time she has to ring up a porn mag for a male customer. “I’ve been at the job 3 years and I still can’t get used to it,” says Reina. “I don’t lose my cool or anything but I get really uncomfortable. I don’t talk to my mother about it but I call tell she knows how I feel.”

But Reina and thousands of conbini workers like her are about to get a break. In deference to the Tokyo Olympics and the expected soar in foreign tourists including families and minors, major convenience stores Seven Eleven and Lawson have announced the decision to abolish all porn magazines from their outlets by August 31st. The third member of the conbini triumvirate Family Mart, has announced that the company has “no intentions of following suit.” Bad news for my HSP friend (who wants to remain anonymous). At her place of work, the porn stays.

Reina says that the announcement gave her much “relief,” though there are some months to go before she’s free from the unpleasantness of handling porn for work. “That stuff is always about rape,” she says. “The covers show women being tied up and the headlines are violent. Frankly, they’re scary.”

In Japan, the public display of porn – rape or otherwise –  has long been a sore point. In 2004, then Tokyo governor Shintaro Ishihara issued a law that required convenience store porn magazines to be partially bound in cellophane, to prevent casual riffing. “If anyone wants to look at those things, they’re going to have to show some courage, go up to the register and pay for them, right in front of everyone else.” This was a statement Ishihara apparently made to an aide, and later picked up by Japan’s sports tabloids, infamous for their own abundant porn content.

For some weeks afterwards, “show some courage” was a popular, mirth-filled punch line among Japanese men. Whether Ishihara really said those words isn’t the point – the move was classic ex-Governor. Always a gung-ho macho, one of Ishihara’s pet laments was the “pathetic-ness” of the slinky, under-confident Japanese male. He didn’t need to trot out the Olympics to turn the screws on their source of fun.

Unfortunately, his cellophane law simply gave rise to another problem: “harmless porn.” Instead of riffing through X-rated content, men turned to “gurabia,” magazines that featured bikini-ed young women on the covers in provocative poses and more of the same inside the pages. Since the women weren’t nude, the magazines couldn’t be described as hard porn. And the blurbs were all about how “beautiful” or “cute” the girls were so how could it be offensive, right? (Though their cup sizes were loudly touted along with their prettiness) Emboldened by this new wave of accessible and ‘kawaii’ porn, salarimen took to visiting the conbini on their lunch hours and picking up the magazines along with their bento and canned coffees. The early naughts were also about “tosatsu,” or shooting voyeuristic pictures of random young women on the streets, or catching them unawares through open windows. And these photos often found their way into – you guessed it, “harmless porn” magazines, stacked on conbini shelves.

“Harmless Porn”

Now, 15 years later, porn magazines (whether hard or harmless) comprise a dismally shrinking market. In the late 1990s, the conbini magazine market sold to the tune of 500 billion yen a year and the adult genre made up nearly 50% of that revenue. Retail analyst Hiroaki Watanabe says that those heydays are long over, and the market has been reduced by almost 70%. “These days, the main clientele of adult-only magazines are seniors, who don’t have smartphones or Internet access,” he says. Indeed, the aforementioned Reina says that porn mag buyers are nearly always “older men, who never make eye contact and have an air of shame.”

Indeed, the aforementioned Reina says that porn mag buyers are nearly always “older men, who never make eye contact and have an air of shame.” 

 

At this point, Mini Stop is the only major convenience store that has completely cleared theirs shelves of adult mags. This is understandable, as Mini Stop is owned by retail conglomerate AEON known for a squeaky clean, family-oriented image. As for the conbini triumvirate, about one-third of their outlets don’t carry adult magazines, according to the companies’ PR.

The PR for Family Mart stated that ultimately, the company leaves the choice to stock porn up to the individual outlet owners. “Some of our outlets don’t carry magazines at all, regardless of content,” said the PR spokesman. “Anyway, we’re heading toward an era where customers can purchase and download magazine content right at the cash register. Paper magazines will be obsolete.”

Ex-Gov Ishihara probably didn’t see that coming. If a tap on a smartphone is all it takes to buy porn at the local conbini, what’s going to happen to male courage?

Japanese magazine fucks up by posting ranking of “f*ckable female college students”

by Kaori Shoji

Some men in Japan just don’t seem to get that objectifying women is wrong.

In the land of the rising sun, the objectification of women is not only a thing, it’s a solid tradition and time-honored marketing ploy. Sometimes though, the tables can be turned the other way. This happened when Weekly SPA, a magazine famed for insisting that sex and money are the only things worth striving for, came out with a story in late December about which colleges had the most number of ‘yareru’ (i.e., easily f*ckable) women. Honorable first place went to Jissen Women’s University, followed by other prestigious women’s universities Otsuma and Ferris. Co-ed universities Hosei and Chuo came in 4th and 5th.

While including a listing of the most “f*ckable” (ヤレる) female college students in Japan, the article was also about what are tantamount to prostitution parties gaining popularity in Japan as a side hustle.

Normally, this would have caused a total of zero ripples on the calm surface of Japan’s societal pond (all the scum lurks beneath) but one young woman dared to raise her voice. This is Kazuna Yamamoto, a senior at International Christian University. Yamamoto saw the article and wrote to petition website change.org – that Japan should stop objectifying women, and noted the nation’s women  “do not exist [soley] for the benefit of men.” In two days, Yamamoto’s petition amassed close to 30,000 sympathizers.

SPA editor-in-chief Takashi Inukai issued a public apology, saying that ‘yareru’ was in this case, inappropriate. Sorry. What SPA really meant to say, was ‘become on friendly terms with.’ Come on guys, is that the best you could do?

To make matters marginally more demeaning, SPA’s article was really about the practice of ‘gyara nomi,‘ which is a thing among young Japanese. (The ‘gyara’ comes from guarantee – in this case, cash.) In a ‘gyara nomi,’ a group of men meet a group of women at a drinking party. The men pick up the tab, and they are also obligated to offer money to women they find especially attractive. The women may or may not be pressured into sex by accepting the monetary gift but according to ‘Reina,’ a woman who regularly attends such gatherings, says “the sex is sort of mandatory. I mean, you can’t say no after the guy pays you. For myself and a lot of other girls, it’s a side hustle.” SPA covered an actual ‘gyara nomi’ party and an app that matches up college girls from the aforementioned universities wanting to earn a little cash, and men looking for a quick roll in the hay. It goes without saying that gyara nomi are limited to women under 25, (pre-Christmas cake age) though men do not face that censure.

The ranking of “fuckable” female college students rankled women in Japan.

Two factors are at play here: the objectification of women surely, but it’s also about women seizing the opportunity to cash in on their objectification. In a pathetically perverse way, you could say this is a win-win situation, or at least a supply and demand equation. Such a scenario is nothing new under the rising sun. Until Japan finally opened its doors to the West, objectifying women was so taken for granted the women themselves thought nothing of it.

By the way, the geisha trade of old was all about pushing the envelope of objectification: the closer a geisha got to simulating a perfectly made-up doll who danced and poured sake for her male clients (with a hinted promise of post-party sex), the better.
And in spite of all the water under the bridge and modernization with a vengeance, not a whole lot has changed. The practice of gyara nomi attest to the fact that Japanese men would would rather pay for sex, than god forbid, having to go through the arduous process of talking with a woman and getting to know her, and her consent– before taking her to bed.

As for the women themselves, like the aforementioned Reina many see their youths as a side hustle. If men and society insist on viewing college girls as ‘yareru’ cuties slinging Samantha Thavasa handbags over their arms, then there’s no shortage of college girls who bank on that view. Wearing short skirts, attending gyara nomi parties and then the next day, laugh about the men with their girlfriends at Starbucks. What’s the harm – but more to the point, how will they finance those Samantha Thavasa handbags if not through men? No self-respecting college girl wants to admit she had to buy one all on her own. With the exception of a weird few who want to waste their precious youth pursuing a medical degree (we know where such lofty ambitions wind up), young women find it easier to cater to male fantasies, and be compensated in one way or another for their trouble.

SPA is a popular magazine available at your local 7/11 or at any train station in Japan. (photo by Kaori Shoji) This issue has a special on strategy for attending a swap party for married people.

An apology from SPA will not likely change the way things are, but maybe, just maybe – it’s a tiny step taken toward…not anything so drastic as equality but non-objectification? On the day after the SPA fiasco, Peach John – one of Japan’s most lucrative women’s lingerie companies – issued an online apology about ‘inappropriate wording’ on one of their products. This was a supplement, touted as a ‘love potion.’ “Slip it into a loved one’s dish or cup, to get that person in the right mood for love” said the product description. (Editor’s note: At least that sounds better than menstrual blood in Valentine’s Day chocolates ) Peach John terminated its sales and promised that they will be “more careful” about choosing the right phrases. Cash, potions, deception, discrimination…would this all go away if  Japanese men and women just learned to talk to each other?

****

Memo: From the petition 

Recently a Company called Shuukan Spa has released a ranking of “University students with easy-access girls” on a public magazine. (Published October 23, 2018)

2018 was a year where women from all over the world fought for women’s rights, so that our voices were delivered.
Japan will be having the first G20 summit this year, 2019 and it is ridiculous for an article such as this to be published. It’s not funny at all.

I would like to fight so that especially on public articles such as this one,  sexualizing, objectifying and disrespecting women would stop.
We demand Shuukan Spa to take this article back and apologize, and promise to not use objectifying words to talk about women.

This sexualizing of women is not funny.

In Japan according to a study done by the Ministry of Justice, only 18.5% of the women report sexual assault or rape.
How about the left over 81.5%?
They don’t speak up. Can not speak up.

Why?
Because sexual assault, random guys touching your butt in public trains, having their crotch up your butt, rape, is something women have to deal with.
Because We use underaged girls in bikinis to fulfill the fetish of those who love baby faces.
Because we idolize young girls.
Because honestly, the society hasn’t changed ever since the time of comfort women.
Because men and women do not believe that we are worth the same as men.

In this world, 1 out of 5 women are raped or sexually assaulted before their 18th birthday.
According to the ministry of Justice, only 1 out of 10 people actually get convicted, after being sued for sexual assault.

In 2018, the world fought.
In some countries, abortion finally became legal.
100 year anniversary since Women got voting rights.
Women in Saudi Arabia were able to drive.
And using Social Media, people spoke up using #MeToo #NoWomenEver and in South America, #NoEsNo and #AbortoLegalYa.

This year we will not only hold the G20 nor but the W20 (women 20)
We demand that the media stops using words to discriminate women, objectify women, disrespect women and sexualize women.

We, women are not less than men.
We are human too.
We do not LIVE for men.
We do not exist for men.

Let’s raise our voices because I am sick of this society where women are objects.

 

Other GROSS articles
https://nikkan-spa.jp/144457

The company behind called Fuji Media Holdings that also
write about Corporate social Responsibility, talking about SDGs.
http://www.fujimediahd.co.jp/csr/index.html

Exclusive: Former Prosecutor Says, “If Ghosn is rearrested, NISSAN CEO should be arrested as well”

Nobuo Gohara (郷原信郎元検事)

Note: We met with former prosecutor Nobuo Gohara, last week, to discuss the arrest and prosecution of Carlos Ghosn. Mr. Ghosn has been accused of financial crimes, and has now been detained 23 days and rearrested. With Gohara’s permission, we are publishing his translated observatiosn about the case, written prior to the re-arrest of Mr. Ghosn today (December 10th 2018). *Portions of this were previously published in Japanese on Yahoo! News. 

The Arrest of President & CEO Saikawa is Inevitable if  Mr. Ghosn is Re-arrested based on Fake Statement made in the Last 3 Years

The End of The Myth of The Special Prosecutors is one book that Mr. Gohara has written on Japan’s prosecutors going off the rails.

Today (December 10) was the last day of the extended detention of Mr. Carlos Ghosn, who was arrested by the Special Investigation Unit of the Tokyo District Court on November 19 and was removed from the Representative Directorship of Nissan 3 days thereafter at the extraordinary board meeting, as well as Mr. Greg Kelly.

The suspected offense of his violation of the Financial Instruments and Exchange Act turned out to be the fact that he did not describe the “agreement on payment of compensation after his retirement” in the securities report.  However, given that the payment had not been determined and that it cannot be considered as a fake statement of an “important matter”, there are serious concerns about considering this non-description a crime.

The End of The Myth of The Special Prosecutors is one book that Mr. Gohara has written on Japan’s prosecutors going off the rails.

There has been an increasing skepticism about the method of prosecutors’ investigation who suddenly arrested Mr. Ghosn at Haneda Airport inside his personal aircraft when he just returned to Japan.  As I have pointed out in my article (“Ghosn Can Only Be Indicted if Prosecutors Follow Their Organizational Logic”), since the prosecutors have arrested him based on their unique decision, it is impossible for them “not to indict Mr. Ghosn”, as it would be self-denying and contrary to the “logic of the organization”.  It had thus been fully anticipated that the prosecutors would indict Mr. Ghosn today.

However, the facts that have newly been revealed through the subsequent media reports are raising even more serious concerns with respect to his arrest based on the “agreement on payment of compensation after his retirement” (although various media organizations report that those facts constitute the ground of his indictment by the prosecutors).

Could this herald the possible “collapse” of the prosecutor’s case

There is Virtually No More Possibility that Mr. Ghosn will be Re-arrested with the Crime of Aggravated Breach of Trust or the like

First of all, it has been reported that the prosecutors intend to re-arrest Mr. Ghosn on the ground that he has “underdescribed his executive compensation of 4 billion yen for the last 3 years”.  The facts that constituted the ground of his arrest and detention to date had been the fake statement around the “agreement on payment of compensation after his retirement” for the period of 5 years up to March 2015 term.  The prosecutors, however, are intending to re-arrest him based on the same fake statement but for the last 3 years up to March 2018 term.

“When The Thinking Processes Of The Organization Stop” discusses the implications of an infamous case in which a prosecutor forged evidence and dysfunctional organizations in general

There had been a speculation that the fake statement in the securities report was merely a ”starting point” and that the Special Investigation Unit was contemplating to pursue some “substantive crime” such as aggravated breach of trust.  However, had they been able to pursue the crime of aggravated breach of trust, they would have re-arrested him based on that.  Given the overloaded investigation lineup of the Public Prosecutors Office, which has been accepting prosecutors dispatched from the District Public Prosecutor Offices, as the year end approaches when they need to send the dispatched prosecutors back to where they belong, they would want to avoid arresting him based on the new facts on and after December 10 unless extreme circumstances arise, because the period of detention of 20 days would then extend to the year end.  This means that the only “charge” based on which the prosecutors intend to indict Mr. Ghosn is the fake statement of his executive compensation.  On the basis that they will re-arrest him based on the same fake statement as the facts constituting his initial arrest and detention, it is highly probable that the investigation will end there.

This is a scenario which I have predicted, as I have repeatedly stated since right after the arrest.  That is, based on the facts that have been reported, it is unlikely that Mr. Ghosn will be indicted for the aggravated breach of trust (“Ghosn Case: Yomiuri Beginning to Ditch Prosecutors while Asahi Cling to Them”).  However, for those who firmly believe that the “justice always lies with prosecutors” and because of that believe “Mr. Ghosn, who was arrested by the prosecutors, is a villain”, it would be hard to accept that the investigation would end by only charging him with such a trivial crime as fake statement and not criminally pursuing any “substantive crime”.

Serious Issues Concerning Procedures of Detention

Of further significance is a “serious issue concerning the legality of detention” in relation to the re-arresting of Mr. Ghosn and Mr. Kelly based on the “underdescription of Mr. Ghosn’s executive compensation of 4 billion yen for the last 3 years”.

A securities report is something which is prepared and submitted each business year.  As such, there is supposed to be “one independent crime” for each business year, totaling to 8 crimes, if there are fake statements in all securities reports for the period of 8 years from March 2010 term to March 2018 term.  However, the charge against Mr. Ghosn with respect to the “agreement on payment of compensation after his retirement” is different from a standard fake statement in the securities report.

An “MoU” was said to have been made between Mr. Ghosn and the Head of Secretary Office every year with respect to part of the executive compensation payable after his retirement under the pretense of some other payment, which had been kept secret to the Departments of General Affairs and Finance of Nissan and had been kept confidentially.  The securities report for each year had been prepared and submitted without regard to the agreement made in such “MoU”.  Since the acts of preparation of the “MoU” for 8 years had been repeated every year under the same intent and purpose, they constitute “one inclusive crime” provided that they do constitute a crime.  They should effectively be interpreted as “one crime” as a whole.  “Dividing” these acts into those conducted during the first 5 years and those during the last 3 years for the purpose of repeating the arrest and detention means arresting and detaining based on the same facts, which is a significant issue in terms of due process of detention.

On top of that, if the prosecutors intend to re-arrest them based on the acts in the last 3 years after completing their investigation and processing of the fake statement for the first 5 years, it would be that they had “reserved” the acts of the last 3 years for the re-arrest.  This is an unjustifiable detention which deviates the common sense of prosecutors.  Inevitably, Mr. Ghosn and Mr. Kelly would file a quasi-complaint with respect to the detention or a special appeal with the Supreme Court, claiming that it is an unjustifiable detention in violation of due process under Article 31 of the Constitution.

It Would Be Difficult to Deny Criminal Liability of President Saikawa

“When The Thinking Processes Of The Organization Stop” discusses the implications of an infamous case in which a prosecutor forged evidence and dysfunctional organizations in general, which could apply to Nissan at present.

A more significant issue is that it has been reported by Asahi, Nikkei, and NHK that Hiroto Saikawa, President and CEO of Nissan, has also signed the “document agreeing on the post-retirement compensation”. It has been reported that Mr. Saikawa has signed a document titled “Employment Agreement”, which describes the amount of compensation for the agreement prohibiting Mr. Ghosn to enter into any consulting agreement or to assume office as an officer with any competing companies after his retirement.  It has also been reported that, apart from the above, a document was prepared which specified the amount of compensation which should have been received by Mr. Ghosn each term and the amount which had actually been paid, as well as the balance thereof, and that it was signed by Mr. Ghosn the ex-Chairman and the executive employees as his close aides.

The prosecutors and media may be denying the criminal liability of Mr. Saikawa  for his fake statement of the executive compensation based on the reason that, although he had been aware of the payment of compensation as consideration for the prohibition of Mr. Ghosn’s entrance into any consulting agreement or assumption of office with competing companies after his retirement, he had not recognized it as a payment of executive compensation under some other pretext, and because of this, he did not know that it should have been described in the securities report as “executive compensation”.

I wonder, however, how President Saikawa had recognized the consideration for the prohibition concerning the consulting agreement and non-competitive agreement.  If he had signed the document based on his understanding that it was a legitimate and lawful payment, it would mean that the agreement has its basis and that Mr. Ghosn has an obligation to refrain from entering into any consulting agreement and competing in return for the payment.  It would thus be considered a “legitimate contractual consideration” rather than a “deferred payment of executive compensation”.

Above all, why did Mr. Saikawa think it was necessary to enter into an agreement that prohibits Mr. Ghosn from entering into any consulting agreement or competing after his retirement when there was actually no specific sign of his retirement?  We can never understand the reason unless the agreement is explained as an “alternative for reducing the executive compensation by half”.  In the end, we cannot help but think that Mr. Saikawa had almost the same recognition as Mr. Ghosn and others with respect to the agreement.

The offense of the crime of fake statement in the securities report is constituted not by “making a fake statement” but by “submitting” the securities report with a fake statement on an important matter. The person who has an obligation to ensure accurate description and “submission” is the CEO in the case of Nissan, which is Mr. Saikawa from and after March 2017 term.  If, as mentioned above, Mr. Saikawa had largely the same recognition with Mr. Ghosn with respect to the “post-retirement payment of compensation”, we have to say that it is Mr. Saikawa who would primarily be criminally liable for the last 2 years (apart from the severity of the ultimate sentence).  That is, if the prosecutors are to pursue the indictment of the fake statement of the securities report for the last 3 years, it is inevitable to charge Mr. Saikawa as well.

Can Mr. Saikawa Withstand Criticism of being Involved in “Backdoor Agreement” with Prosecutors?

This is when the idea of plea bargain occurs to us—that is, whether or not there is a possibility that Mr. Saikawa has agreed to a plea bargain with the prosecutors by cooperating in the investigation on the “crimes of others” (i.e., of Mr. Ghosn and Mr. Kelly), thereby being exempted from criminal punishment.

It is possible that there is a “backdoor agreement” between the prosecutors and President Saikawa “targeting” Mr. Ghosn and Mr. Kelly.  However, if such agreement exists, where it is agreed not to charge President Saikawa, what was it all about that he criticized Mr. Ghosn at the press conference immediately after his arrest, going so far as to say that he “felt resentment (toward Mr. Ghosn)”?  There is likely to be severe criticisms against such agreement as well as against Mr. Saikawa domestically and internationally.  Furthermore, if this is the case, it is likely that Mr. Saikawa falls under the “party with special interest” in relation to the extraordinary board meeting where he served as the chairman and determined the removal of Mr. Ghosn from his position of the Representative Director and Chairman. This may affect the force and effect of the vote (““Serious Concern” over Plea Bargain between Executives of Nissan and Prosecutors” – Are Directors Involved in Securities Report able to Participate in Voting relating to Removal of Ghosn?).

Given all of the above, if the prosecutors are to re-arrest Mr. Ghosn and Mr. Kelly on the ground of a fake statement in the securities report for the last 3 years, there is no other choice than to arrest Mr. Saikawa and hold him criminally liable.  However, this would virtually mean the collapse of the current management team of Nissan which executed a coup d’etat at the initiative of President Saikawa and upset the Ghosn Regime.  The investigation of the prosecutors, which has been conducted in close cooperation with the management team of Nissan, is also at a risk of “collapsing”.

*Translation was provided by Mr. Gohara’s office, with some minor editing by JSRC staff for clarity based on the original Japanese text.

The Way of the Sword Requires a Ton of Sacrifice/ZAN movie review

by Kaori Shoji
You don’t know cool until you’ve seen ZAN (international title: “Killing”). A period action film set in the late Edo Period, ZAN is everything that The Last Samurai is not: minimalist, unpretentious and totally unsentimental. Back in Old Japan, sentiment was often a luxury few people could afford. It was hard enough to secure things like food and basic comforts, and the situation was harder for the samurai because they had to keep up appearances as the authoritative class.

(C)SHINYA TSUKAMOTO/KAIJYU THEATER


“I want you to think about all the mistakes you’ve made in your life up to this point,” he tells his bleeding victim. “You have plenty of time for reflection until you finally manage to die.”
ZAN notes that a samurai was defined by two things: 1) his sword and 2) his ability to kill others with that sword. The film also makes no bones about the incredible pain and grossness that accompanies a sword fight. It’s not like a TV period drama where one swish of a katana brings on instantaneous death–the process takes hours or even days of intense suffering. In one scene, after a close battle a samurai slices off the arm of an opponent, right from the shoulder. “I want you to think about all the mistakes you’ve made in your life up to this point,” he tells his bleeding victim. “You have plenty of time for reflection until you finally manage to die.”

Chilling. Isn’t it? ZAN is a lesson in Edo Period brutality and despite the obvious disregard for period detail (like speech patterns and vocabulary) it all feels eerily true. No one cracks a smile, wears make-up or even changes out of soiled kimonos. The sky is heavy with perpetual rain, the houses are pitch dark, cramped and dingy. The threat of pain and death is ever-present and the only respite is sex, or more often, masturbation. Something has got to give, but you sense right away that the giving isn’t going to be happy.

ZAN is directed by Shinya Tsukamoto – arguably the most innovative auteur working in the Japanese flm industry today, and distinctive for working solo. An indie wunderkind, he directs, writes his own screenplays, works on his own production designs and acts in crucial roles, in his own and other peoples’ films. Tsukamoto even auditioned for Martin Scorsese’s Silence and got the part of Mokichi. Rumor has it Scorsese thought Tsukamoto “looked familiar,” as the American director is a fan of his work, but didn’t believe that a man of Tsukamoto’s repute would actually show up for an audition. Scorsese was later flabbergasted to learn the truth and professed to be “in awe” of Tsukamoto – at least that’s the story floating around in the Japanese movie industry.

But it’s easy to believe that Scorsese was impressed because as an actor, Tsukamoto radiates a macho allure that’s hard to resist. In the movie, he plays an older samurai named Sawamura, a mysterious vagabond traveling from village to village in search of talent. Sawamura has an agenda – to form a platoon of free agent samurai and offer their services to some powerful lord. The era is late Edo, when the whole of Japan was in the fever grip of confusion and intrigue, all the while being pressured by Europe and the US to open up the nation, after nearly 260 years of isolation. Against this backdrop, hordes of samurai were fired from their clans and left to fend for themselves. Many of them were recruited as foot soldiers by the Tokugawa shogunate and its supporters that were anti-foreigner and desperate to preserve the status quo. Sawamura’s own political views are unclear but most likely he has none. Like many unemployed samurai at the time, gaining a steady position was the biggest priority and as a samurai, that meant killing people with his sword. “I want to do my part in these chaotic times,” he explains.

(C)SHINYA TSUKAMOTO/KAIJYU THEATER



Sawamura’s statement reveals the Edo samurai mind-set: Fighting for a cause or a political slogan was tacky. Killing to assert one’s identity as a samurai, was more like it. He wanders over to a village on the outskirts of Edo and observes a young samurai, Tsuzuki (Sosuke Ikematsu) having a mock sword battle with farmer boy Ichisuke (Ryusei Maeda). Tsuzuki had been hired on a farm in lieu of food and board, and had been giving katana lessons to Ichisuke whenever they had a moment free from working the rice paddies. Tsuzuki is an excellent swordsman and under his tutelage, Ichisuke has acquired a lot of skill. Sawamura wastes no time in recruiting them both, and proposes leaving for Edo in two days. Ichisuke is keen to go but Tsuzuki is inexplicably reluctant. The presence of Ichisuke’s sister Yu (Yu Aoi) is part of the reason – Tsuzuki always masturbates to the sight of her bathing and the story suggests he is a virgin. Could it be that he’s also a virgin as a murderer, and for all his grace and expertise with the sword, Tsuzuki has never brought his blade down on another man’s flesh?

ZAN twists and writhes its way to a bloody climax and by then you become well aware of the wondrous weirdness of the samurai. They are darkly backward in their thinking, swayed by a single desire to assert their samurai identity, which is on par with the will to kill. It overrides all other desires – for happiness, for justice, even for survival. It depicts not the noble samurai of Japanese fiction and The Last Samurai, but the samurai as they really were: bloody, brutal, barbaric and with no notions of the word Bushido(武士道). Bushido, both the word and the concept of a noble samurai were retroactively imposed upon the Edo-era culture by the writer Inazo Nitobe in 1900. His book Bushido: The Soul of Japan, written in English, was aimed at Western audiences, and tried to elevate the popular image of Japan. (The “Cool Japan” strategy of 1900).

In ZAN, the opening of Japan to the West and the subsequent demolishment of the samurai was just around the corner, but Tsuzuki and Sawamura are locked into an existence that no one, not even themselves, could fully comprehend or accept. They take us to a place that defies logic and explanation, to a time when such things were beside the point. It’s only when the lights come on that we take stock of what Japan has lost in the wake of modernization and wonder briefly whether the trade-off was completely worth it.

Now playing in Japan. Click here for showtimes and venues are here

Editor’s Opinion: Yet, are the samurai really missed? ” For the peasants and underclass who were often brutalized by the samurai, probably not. Samurai could legally murder the lower class of merchants, farmers, prostitutes, etc–kirisutegomen–for being impolite or simply being annoying. The movie reminds us that maybe for the rest of us, the cutting down of the Samurai was a boon to Japan, not a curse. What do you think?

タイトル:『斬、』

読み方:ざん

公開表記: 11月24日(土)よりユーロスペースほか全国公開!

クレジット:

監督、脚本、撮影、編集、製作:塚本晋也 

出演:池松壮亮、蒼井優、中村達也、前田隆成、塚本晋也

2018年/日本/80分/アメリカンビスタ/5.1ch/カラー 

製作:海獣シアター/配給:新日本映画社