Japn 340        When A Woman Ascends the Stairs: 3 Readings

 

• "Russell.Naruse.pdf," Download "Russell.Naruse.pdf,"
• "Lopate.Naruse.pdf," Download "Lopate.Naruse.pdf,"
• "Mellen Naruse.pdf" Download "Mellen Naruse.pdf"

 

1. "Russell.Naruse.pdf" (consists of 3 short excerpts from a long, 403 page book):

 

 

Part A. Preface pp. xii-xvii: Offers up the themes of modernity, War, social change, and women's status in the social system--and Russell argues that Naruse is concerned about the loss of faith in the promises of modernity in both prewar and postwar Japan. What do you think this might mean?

 

 

 

 

 

What does it take to "climb the stairs" day after day?

 

 

 

 

What does Russell feel that her work is proposing within the context of "the contradictions within Japanese modrnity? (xvii)

 

 

 

Part B. “When a Woman Ascends the Stairs,” (pp. 333-341).

Is the film just Melodrama or does it do something more? Does it offer a Commentary as well?

 

 

 

p. 338-339 Russell finds this film to be both "noir"--even though it's not a crime story--and a "woman's film." Why, do you think?

 

 

 

 

 

p. 340: Anthropoligist Anne Allison's work is invoked suggesting how it is possible for women in this profession (bar hostess) to subvert the power of the male gaze. Does Russell think Naruse is trying to do this?

 

 

 

How does Keiko fare in her stuggle against the system?

 

 

 

Russell feels a redeeming value of the film is that it "remains one of the only Japanese films to explore a woman's view of the world of Tokyo hostess bars." (341) Does that carry important weight? What do you think it means for understanding Naruse's work?

 

 

 

 

 

 

 

 

 

Part C. Conclusion, pp. 398-402: Russell notes that in contrast to Ozu, this film can be seen as dark and materialist.

 

Might that have to do with Naruse's feeling that modernity but pre- and postwar has failed Japanese women?

 

 

 

Might it also be part of a more utopian project of Naruse's? Which is why he keeps his storytelling "open, inconclusive and intertextual"? (402)

 

Also, Russell argues that by showing us how "The unfilfilled promises of modernity are inevitalby bound to disappoint, but Naruse enables us to share the pleasures and pain of the contradictory experiences of women in Japanese modernity"? (403)

And, in doing so, we gain an appreciation for struggles we perhaps did not know existed.

What do you think? Do you agree?

 

 

 

2. "Lopate.Naruse.pdf" "They Endure" Stairs?

 

A. Keiko, or the Mama-san, is at a crossroads in her life/career. What are her options?

 

 

 

 

B. How are the "stairs" both literal and symbolic?

 

 

 

 

C. What happens with Sekine who proposes to her?

 

 

 

 

D. When Keiko throws herself at Fujisaki, the Bartender who really loves her, is disappointed in her. Her reply? "Sorry. I'm not that good." How do you think people are depicted in Naurse films? Are they either good or bad?

 

 

 

 

 

E. What is Naruse's "gift" in this film? How does he stave off despair?

 

 

 

 

 

 

3.“Mellen.Naruse.pdf” (esp. pp. 282 bottom-285 middle) explores servitude, psychology, oppression of women, their degradation and their powerlessness.

 

 

 

A. What does it take to succeed in the bar hostess business?

 

 

 

 

 

 

B. What are the key attributes of Keiko, the main character, aka the Mama-san? Do they serve her well?

 

 

 

 

 

 

 

 

 

C. How does Mellen see the final scene as Keiko ascends the stairs"? How about the close up? What does it reveal? Has she retained something? What is it?