총력전(總⼒戰) 시대의 오즈 야스지로(⼩津安⼆郎) <아버지가 있었다(父ありき)>를 둘러싼 논란을 중심으로

Abstract

Japanese have a kind of fantasy about people who worked in film production during the wartime and became directors representing post-war Japan after the defeat. The illusion is that, unlike other directors, famous ones worked with ‘anti-state’ or ‘anti-national policy’ ideas during the wartime period. However, Japan during the war period was not such a soft country. Moreover, it is difficult to find a clear motive as to why famous directors had to engage in ‘anti-national’ and ‘anti-national policy’ actions. In order to properly analyze the film in the context of the times, one should not watch films by famous directors that reflect such fantasies of post-war Japan. Rather, it would be more appropriate to analyze it based on the circumstances of the time and the evaluations of the people at the time. This Japanese fantasy is also reflected in Yasujiro Ozu's <There Was a Father> (1942). This study looked at the discussions over surrounding <There Was a Father> that took place in post-war Japan, and based on this, compared it with the discourse at the time when the film was made.