The Asia-Pacific Journal | Japan Focus Volume 10 | Issue 11 | Number 4 | Mar 05, 2012

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Therapy for Depression: Social Meaning of JapaneseMelodrama in the Heisei Era　　鬱への治療法−−平成時代日本のメロドラマの社会的な意味

Yau Shuk-ting, Kinnia

Therapy for Depression: SocialMeaning of Japanese Melodrama inthe Heisei Era

Yau Shuk Ting, Kinnia

Abstract: This paper examines the socialmeanings embedded in Japanese melodramasproduced since the 1990s and their use by thepublic for comfort and healing in an attempt todeal with declining confidence, both personaland national, in the wake of the burst of thebubble economy. It notes, further, how theJapanese media has used similar tropes in aneffort to rebuild morale in the aftermath of theMarch 11 earthquake.

Keywords: Japan, Heisei, bubble economy,melodrama, therapy

Introduction

After World War II, Japan was able to rise fromthe ashes like a phoenix to emerge as asuperpower and a prosperous industrial nation.The death of Emperor Hirohito in 1989,however, marked the end of the Showa era andthe start of the Heisei period. Heisei, however,began Japan's prolonged political, economicand social decline, a period some have termedthe Lost Decade(s).1 The bursting of the bubbleeconomy not only triggered a host of socialproblems, but deeply shook popular confidence.During this difficult period, Japanese havesought ways to heal wounded personal andnational pride. Attempts to boost nationalconfidence has often taken the form of

memorializing the good old days of Japan.Showa superstars such as Yamaguchi Yoshiko(aka Li Xianglan),2 Ishihara Yūjirō3 and MisoraHibari4

have been repeatedly memorialized.

Yamaguchi Yoshiko (Li Xianglan) exhibit

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Showa superstar Ishihara Yūjirō's memorialservice

Misora Hibari – the darling of the Showaera

They represent a powerful Japan during WorldWar II and the post-war economic miracle.Yūjirō, known as the "sun of Showa" and the"most lovable Japanese man in history," isremembered for h is conf idence andexceptionally long legs (90cm). In 2000, acompetition titled "Search for the twenty-firstcentury Yūjirō" attracted as many as 52,500contestants.

Apart from the Showa icons, Kimura Takuya isanother figure frequently used to lift thecountry's confidence. Since the mid-1990s, hehas played in a number of TV dramas as adreamer who refuses to give up during difficulttimes.5

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SMAP member and top idol, actor KimuraTakuya

On June 16, 2003, Kimura Takuya and hisgroup SMAP sponsored a fu l l - pageadvertisement called "MIJ" (Made in Japan) inYomiuri shimbun to promote their new albumof the same title.

"Come On" and be the 21st Century Yūjirō

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Top boy band SMAP taking pride in "MIJ"

They highlighted the remarkable achievementsof Japanese people throughout the world. TheirCD cover asks, "Don't you feel good to be livingas a Japanese in such a wonderful age?"6 Inaddition, sport stars such as Suzuki Ichirō,Nakata Hidetoshi, Asada Mao and Ishikawa Ryoenjoy unparalleled popularity mostly because oftheir international success.

In recent years, movies with a strong sense ofromanticized nostalgia for post-war Tokyo havebecome a trend in Japanese cinema. One of thebest examples is Yamazaki Takashi's Always:Sunset on Third Street (2005) and Always:Sunset on Third Street 2 (2007).7

Always film poster

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Poster for the Always sequel

The story is set in 1958 in a poor but warmJapanese community where the residents arefriendly and helpful. The 2005 film swept 12prizes at the 2006 Japanese Academy Awards,including Best Picture, Best Director, BestActor and Best Screenplay. Other box-officehits l ike Memories of Matsuko (2006,Nakashima Tetsuya)

Tokyo Tower: Mom, and Me, and SometimesDad (2007, Matsuoka Jōji) and 20th CenturyBoys (2008, Tsutsumi Yukihiko) are also moviesthat project an innocent, warm and energeticShowa in contrast with the sinful, cold andfrustrating Heisei.

Memories of Matsuko film poster

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Tokyo Tower film poster20th Century Boys manga

Many Japanese melodramas since the 1990semploy the theme of resurrection. They canalso be seen as romanticized nostalgia for thepast, especially the 1980s when the Japaneseeconomy reached its historical peak. This paperproposes that melodrama serves as therapy forthe national depression primarily caused by theburst of the bubble economy and thesubsequent prolonged recession. It should benoted that the term depression applies not onlyto severe contraction but also to psychologicaldamage including loss of confidence triggeredby the prolonged financial crunch. Analysis ofsuch classic Japanese melodramas as LoveLetter (1995, Iwai Shunji), Be with You (2004,Doi Nobuhiko) and Crying out Love, in theCentre of the World (2005, Yukisada Isao),reveal that the directors seek to comfortaudiences through re-experiencing a sweet

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past. Most importantly, these melodramas canboost Japanese confidence as they seek topierce the gloom of the Heisei period.

Generation X directors

The movies discussed in this paper areprimarily those directed by Japan's GenerationX or shinjinrui (new breed).8 Born between1 9 5 8 a n d 1 9 6 7 , t h e y g r e w u p i n a nenvironment free of war and poverty and werethe prime beneficiaries of the country's rapideconomic growth generated by oldergenerations. But they were also hit the hardestby the burst of the bubble economy. Frustratedwith the current situation, they becamenostalgic for the glorious Showa era. Thedeteriorating living standard of Japanesehouseholds also led to the creation of failedfa ther f igures , who are usua l ly thebreadwinners. Fathers or husbands whobecome unemployed as a result of companydownsizing were even labeled dame oyaji (loserdads) and sodai gomi (oversized garbage).9 Inthe face of degrading masculinity, it is notsurprising that Generation X directors,traumatized by Japan's economic failure,became the most nostalgic for the 1980s.Japanese melodramas produced since the1990s therefor often involve the death andresurrection of a loved one. In many cases, thebeloved is a metaphor of Japan's golden age.Among Japanese melodramas of this nature,Love Letter can be considered the original andmost important classic.

Love Letter

Love Letter film poster

Love Letter tells the story of Watanabe Hiroko(Nakayama Miho) who is unable to cope withthe death of her fiancé Fujii Itsuki.

On the third anniversary of his death, Hirokosends a letter to Itsuki's old address. The letteris received by a female "Itsuki" (also played byNakayama Miho) who writes back. It turns outthat the two Itsukis were actually in the sameclass in high school. Flashbacks reveal that themale Itsuki (Kashiwabara Takashi) was in lovewith the female Itsuki (Sakai Miki) but she wasnever aware of it. Having realized that she isnot her fiancé's true love, Hiroko decides tomove on with her life. A blockbuster, LoveLetter was nominated for the Best Film Awardat the 19 th Japan Academy Awards, whileKashiwabara and Sakai received the Best NewActor Awards. Love Letter made the city ofOtaru a famous tourist spot, but it has even

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more significant influence on post 1990sJapanese melodramas.

Post 1990s Japanese melodramas

Be with You and Crying out Love, as well asother post 1990s Japanese melodramas carryindelible traces of Love Letter.10 The mostcommon plot of a Japanese melodrama involvesthe protagonist's loss of a loved one. He or shecannot overcome the trauma until the deceasedreturns. Furthermore, the deceased usuallyreturns to encourage those living in reality tolook to the future. At the end, the protagonistgenerally lets go of the past to start a newchapter in life. However, these melodramas aremore than just tear jerkers. They also conveynostalgia for Japan's golden age, that is, beforethe burst of the bubble economy.

The main actors of Be with You

Japan lost its magic power in the early 1990swhile other Asian countries, notably HongKong, Taiwan, South Korea, Singapore, and ofcourse

China were emerging as newly industrializedeconomies. South Korean conglomerates likeSamsung and Hyundai became strongcompetitors for Japanese firms. ImitatingJapanese management style, they successfullycaptured some of Japan's market share. Rapiddevelopment of the Chinese economy alsomeant that China would surpass Japan in 2011to become the world's second largest economy,

though still a far less prosperous nation.11

Within East Asia, controversies over historytextbooks, comfort women and Yasukuni Shrineisolated Japan, undermining relationships withAsian neighbors who remain heavily consciousof historical issues centered on Japanesecolonialism and war.12 Inside Japan, an unstablepolitical environment continues to overshadowthe country's future outlook. Although KoizumiJunIchirō held power for six years, his threesuccessors were each forced to step down inabout a year's time, indicative of politicalinstability.13 Confronted by internal andexternal problems, Japanese people are in needof therapy to infuse hope and courage. Post1990s Japanese melodramas, this paperproposes, serve this purpose.

Be with You

Be with You is a melodrama filled withnostalgia for Japan's golden age.

It tells the story of Takumi (Nakamura Shidō), asingle father who cares for his son after hiswife Mio (Takeuchi Yūko) dies. A year afterMio's death, she reappears and the three againbecome a family once more. When the rainyseason ends, however, Mio must leave andnever return again. Typical of post 1990sJapanese melodrama,

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Love Letter's Itsuki

Mio is pure, caring and perfect.14 She providescomfort and therapy to people around her. Onthe other hand, Takumi is a pessimisticintrovert who lacks self-confidence. An acutesickness deprives him of his talent at running,the only skill he took pride in. This heavy blowcan be seen as a metaphor for the abrupt endto Japan's glory days. Both Takumi and Japanfind it difficult to stand on their feet again.Takumi's son, who represents the youngergeneration of Japanese, is disappointed with hisfather. Before she leaves for good, however,Mio reminds her son that, "There was a timewhen Daddy was an incredibly fast runner, helooked really cool." Her words can beinterpreted as a message for young Japanesethat their Japan was once an outstandingnation. Therefore, they should respect and takepride in their country even at difficult times.

Top 80s idol Matsuda Seiko

Like Love Letter, Be with You also depicts thefemale and male protagonist falling in love.Judging from clues in the movie, Mio andTakumi probably went to high school in the1970s or 1980s, that is, when Japan was at thepeak of its success. Their teenage years werealways blessed with sunny weather. The scenein which Mio and Takumi kiss in the middle of asun-drenched sunflower field, in particular, isrepresentative of this type of vibrantimpression. Mio represents the good old daysand her presence guarantees fine weather andbright skies.15 Her perfection means that evenher death would not cause any disturbance. Inmuch the same manner, the death of male leadFujii Itsuki is also only briefly touched upon inLove Letter.

Notably, Itsuki is said to have sung MatsudaSeiko's hit song Aoi sangoshō (Blue Coral Reef)moments before he dies. Coincidentally,Matsuda, recognized as Japan's "eternal idol,"is one of the best known pop icons in the 1980swho was tipped to become the next YamaguchiMomoe.

Mio, Itsuki and the golden age are badly missed

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because they are irreplaceable. Indeed, "love oflife" is commonly used in post 1990s Japanesemelodramas to symbolize the "golden age."Other examples include Kazuya in Touch (2005,Inudō Isshin), Haruhi in The Angel's Egg(2006), and Togashi Shin and Aoi in RainbowSong (2006, Kumazawa Naoto).

Touch film version poster

Hit drama Angel's Egg

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Protagonists of Rainbow Song

As soon as these characters die, the film'scheerful mood comes to a sudden end. It is as ifa l l th ings br ight and beaut i fu l havedisappeared with the loved ones. Theremarkably glamorous Showa period dies andthe depressing Heisei era sets in.

Crying out Love, in the Centre of the World

Adapted from a novel of the same title, Cryingout Love tells a bittersweet love story betweenSakutarō (Moriyama Mirai) and Aki (NagasawaMasami).

Crying out Love couple Sakutarō and Aki

The couple became attracted to each otherwhen studying in the same class. Again, thismostly likely took place in the 1980s. Sakutarōconsiders Aki the love of his life, but she diesfrom leukemia at a young age. When visitinghis hometown on the island of Shikoku, the nowgrownup Sakutarō (Ōsawa Takao) becomesmesmerized by memories of Aki. The thought ofAki dominates his life, almost costing him hisfiancée Ritsuko (Shibasaki Kō). After listeningto the last words Aki left behind, Sakutarōfinally has the courage to walk out of the pastand start a new life. This is precisely depictedin the film's theme song Hitomi wo tojite (CloseYour Eyes) by Hirai Ken, in which the lastphrase says, "I shall search for you in mymemory; that alone is sufficient, because yougave me strength to overcome the loss, you

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gave me that."16

Aki, like Love Letter's Itsuki and Be with You'sMio, represents the good old days. Her death isaccompanied by a rainstorm which foretells thearrival of a dark era.17 The frequent appearanceof props such as Walkman and cassette tapelocate the story takes place in the 1980s.

The Sony Walkman features prominently inmelodramas set in the 1980s

Invented by Sony in 1978, Walkman is arevolutionary device held to be representativeof Japanese creativity. It is one of the proudestcreations of Japan's glory days. The 1980s, aperiod in which Aki lives, is characterized bywarm and sunny weather. Fine weatherprevails when she is healthy and energetic. Onethe other hand, severe weather such astyphoon and rainstorm occur as her healthcondition deteriorates. At the end of the film,the sun reappears when Sakutarō realizes heshould leave the past behind and live themoment with Ritsuko. The most importantpurpose of the deceased's return, then, is toencourage the living to look forward to a brightfuture. Therefore, these Japanese melodramasusually end with the return of fine weather

March 11 Earthquake and a Prouder Japan

The March 11th earthquake threatenedJapanese conf idence yet again . The

humanitarian , social and economic crisis castuncertainty over a nation still struggling to findits footing two decades after the burst of thebubble economy. Japanese artists are amongthose doing their part to heal the nation.Shortly after the earthquake, renowned actorWatanabe Ken18 launched a website called"Kizuna311"with writer Koyama Kundo. Thewebsite, which contains messages of courage,hope and love for victims of the disaster, callsfor "Kizuna – Unity and Hope. Together we willprevail and overcome." Apart from visits toquake-stricken area, Watanabe held advancescreenings of his latest movie in Iwate andMiyagi, two hard-hit prefectures. The film,Hayabusa: Haruka naru kikan (Hayabusa: Thereturn from afar) (2012, Takimoto Tokiyuki)tells of Japan's development of an unmannedspacecraft aimed at retrieving a sample ofmaterial from an asteroid similar to the Earth.

Watanabe Ken stars in Hayabusa

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The actual Hayabusa project, headed by theJapan Aerospace Exploration Agency(JAXA),was a mi les tone Japan ' s aerospacetechnology.19 It symbolizes Japanese ability toovercome difficulties. Watanabe playsProfessor Yamaguchi, a character modeledafter Kawaguchi JunIchiō, Hayabusa's projectmanager. Released in February 2012, the film'stagline is, "‘Zettai ni akiramenai' Nihon nogijutsuryoku ningenryoku ga sekai wo kaeru"(The persistent power of Japanese technologyand people change the world). While it may notbe an all-out melodrama, the film aims to boostmorale and strengthen the nation by re-presenting a story of Japanese creativity andperseverance in space at a time when thecountry has been severely shaken.

In a similar sense, TV network TBS's 60 th

anniversary drama Nankyoku tairiku(Antarctica) which was broadcasted betweenOctober and December 2011 can also beconsidered an attempts to boost Japanese pridein the aftermath of the March 11 earthquake.

Reliving postwar recovery in Antarctica

Whatever the original reasons behind thedrama's conception, it has clearly been used tocomfort a deeply shocked nation. Antarcticasends a message similar to Hayabusa: Harukanaru kikan, its tagline reads, "Sono yume ni wa,Nihon wo kaeru chikara aru" (That dream hasthe power to change Japan). In the drama,Kimura Takuya plays a member of Japan's firstAntarctic expedition team. The story takesplace about 10 years after WWII when Japanwas still struggling to regain confidence and

international recognition. Trying to share in theexploration of Antarctica, Japan was largelycondemned by other countries due to itsdefeated nation status. Kimura is portrayed asa man who strives to bring Japan back on trackto become a major player on the world stage.The determination and charisma of one ofJapan's most beloved artists without doubt havea therapeutic effect on the audience.

A more direct attempt to address the March 11earthquake is NHK's drama Sorekara no umi(The Sea from Then On). The special drama,starring victims of the disaster, is scheduled toair on March 3, 2012. Shot in Iwate prefecture,it tells the story of a school girl who lives in themakeshif t house with her father andgrandfather after losing her mother in thetsunami. As Japan gradually recovers from thecatastrophe, more films representing theMarch 11 earthquake should be expected.

Conclusion

During the Heisei period, in the wake of theburst of the bubble, resurrection of a loved onehas become a trend in Japanese cinema. In thepast two ‘Lost Decades', Generation X directorshave produced numerous melodramas withsimilar themes, setting and plot. Post 1990sJapanese melodramas allow the audience to re-experience Japan's golden age. They bring backhappy memories which many Japanese,especial ly those of Generation X, trydesperately to preserve. At the same time,these melodramas also express the directors'dissatisfaction with the present situation anddeliver a positive message that encourages theaudience to accept their loss and face futurechallenges with hope and confidence. Mostimportantly, audiences are reminded that theircountry can build an even greater miracle thanbefore. A line from Mitani Kōki's The MagicHour (2008) says, "As long as there istomorrow, there will always be a chance tocome across the most beautiful ‘magic hour' ofthe day." Hope and faith, therefore, are crucial

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to rebuilding Japanese confidence.

The Magic Hour film poster

In the wake of the March 11 earthquake, theJapanese entertainment industry has beendoing its part to heal the nation and more filmsand TV dramas have been produced that depictlove, hope and courage. How the disaster itselfwill be portrayed remains to be seen, butrestoration of national confidence and pride ina wide range of media products appear to bethe mainstream. It is possible that the disastercould help unite a nation that has somehow lostconfidence. It offers a chance for Japan toreestablish its position as a leading worldplayer. The production of films that assertJapanese achievements, in ways similar to themelodramas, could strengthen a nationseverely traumatized by the tragedies.

Yau Shuk-ting, Kinnia received her Ph.D.

from the University of Tokyo in 2003. She isAssociate Professor at the Department ofJapanese Studies, The Chinese University ofHong Kong. Kinnia is the author of Japaneseand Hong Kong Film Industries: Understandingthe Origins of East Asian Film Networks(Routledge, 2010), Chinese-Japanese-KoreanCinemas: History, Society and Culture (TheHong Kong University Press, 2010), and theeditor of East Asian Cinema and CulturalHeritage: From China, Hong Kong, Taiwan toJapan and South Korea (Palgrave Macmillan,2011). Her latest book, An Oral History ofJapanese and Hong Kong Filmmakers: FromFoes to Friends (The Hong Kong UniversityPress, 2012) will be published soon.

Email: kinniayau@cuhk.edu.hk

Recommended citation: Yau Shuk-ting, Kinnia,'Therapy for Depression: Social Meaning ofJapanese Melodrama in the Heisei Era,' TheAsia-Pacific Journal, Vol 10, Issue 11, No 4,March 12, 2012.

Responding to Disaster: Japan's 3.11Catastrophe in Historical Perspective

Is a Special Issue of The Asia-Pacific Journaledited by Yau Shuk-ting, Kinnia

See the following articles:

• Yau Shuk-ting, Kinnia, Introduction(https://apjjf.org/-Yau-Shuk_ting__Kinnia/3711)

• Matthew Penney, Nuclear Nationalism andF u k u s h i m a(https://apjjf.org/-Matthew-Penney/3712)

• Susan Napier, The Anime Director, theFantasy Girl and the Very Real Tsunami(https://apjjf.org/-Susan_J_-Napier/3713)

• Yau Shuk Ting, Kinnia, Therapy forDepression: Social Meaning of JapaneseM e l o d r a m a i n t h e H e i s e i E r a

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(https://apjjf.org/-Yau-Shuk_ting__Kinnia/3714)

• Timothy S. George, Fukushima in Light ofM i n a m a t a(https://apjjf.org/-Timothy_S_-George/3715)

• Shi-lin Loh, Beyond Peace: Pluralizing Japan’sN u c l e a r H i s t o r y(https://apjjf .org/-Shi_Lin-Loh/3716)

• Brian Victoria, Buddhism and Disasters: FromW o r l d W a r I I t o F u k u s h i m a(https://apjjf .org/-Brian-Victoria/3717)

See the complete list of APJ resources onthe 3.11 earthquake, tsunami and nuclearpower meltdown, and the state and societalr e s p o n s e s t o i t h e r e(https://apjjf.org/japans-3.11-earthquake-tsunami-atomic-meltdown).

NOTES

1 In the years following the burst of the bubbleeconomy, especially between 1991 and 1998,Japan's GDP continued to drop at the rate ofone percent every year. See Yoshikawa Hiroshi,Japan's Lost Decade (trans. Charles H.Stewart), Tokyo: The International House ofJapan, 2002.

2 Yamaguchi Yoshiko was born in Manchuria in1920. Her father worked for the SouthManchuria Railway and she was raised inChina. Pro-Japanese figures Li Jichun and PanYugui who became her adoptive fathers andgave her alternative names Li Xianglan and PanShuhua. She made her debut in a Man'ei filmHoneymoon Express (1938, Ueno Shinji) withthe stage name Li Xianglan. Becoming one ofthe company's top stars, she took part innumerous "national policy films." Her worksinclude Japanese films: Journey to the East(1939/Otani Toshio), China Nights (1940,Fushimizu Osamu), Eternity (1943, Bu

Wancang and others) and Sayon's Bell (1943,Shimizu Hiroshi); Hong Kong-Japanesecollaborations: The Lady of Mystery (1957,Wakasugi Mitsuo), and The Unforgettable(1958, Bu Wancang). Yamaguchi's Japaneseidentity was kept secret until Japan's surrenderwhen she was charged with being a "traitor."After the war she starred in Japanese andAmerican films, as well as Hong Kong's Shawand Sons' musicals. Yamaguchi, who was oncea superstar in China, provides an example of aJapanese who enjoyed immense popularity in aforeign country.

3 Ishihara Yūjirō (1934-1987) was born in Kobe.He debuted in Season of the Sun (1956,Furukawa Takumi), a film adaptation of hiselder brother Ishihara Shintaro's novel.Subsequent films such as Crazed Fruit (1956,Nakahira Kō) and Man Who Causes a Storm(1957, Inoue Umetsugu) made him a superstarand icon of the "sun-tribe" culture. Yūjirō'srebellious and energetic character made himone of the best loved Japanese actors of theShowa period. However,plagued by illnessduring the last year of his life, he died of livercancer at the age of 52. The Ishihara YūjirōMemorial Museum opened in June 1991 inHokkaido's Otaru, a city where he spent part ofhis childhood.

4 Misora Hibari (1937-1989) was born inYokohama. Her singing talent was recognizedat a very young age. At 12, she began hercareer in a movie called The Age of AmateurSinging Manias (1949, Saitō Torajirō). Herperformance in Dancing Dragon Palace (1949,Sasaki Yasushi), a film in which she also sangthe theme song, captured national attention.Throughout her career she played in over 160films including Sad Whistling (1949, LekiMiyoji), Tokyo Kid (1950, Saitō Torajirō),Hibari's Lullaby (1951, Shima Koji) and TheDancing Girl of Izu (1954, Nomura Yoshitaro).A best-selling singer, she was also a frequentguest of NHK's annual kōhaku music show. Herdeath at the age of 52 was widely mourned.

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The Misora Hibari Museum was opened inKyoto's Arashiyama in 1994.

5 Some of his best known TV dramas are LongVacation (1996, Fuji TV), Beautiful Life (2000,TBS), Pride (2004, Fuji TV), The Grand Family(2007, TBS), Change (2008, Fuji TV) and Mr.Brain (2009, TBS).

6 Just as SMAP tried to boost the country'sconfidence with their album, Hirai Ken's latestalbum is titled Japanese Singer. Released inJune 2011, three months after the March 11earthquake, this title carries special meaning toHirai because he is often mistaken for aforeigner due to his Westerner-looking face. Inan interview with CNN, he spoke of hisinsecurity for not looking like typical Japanese.See "Hirai Ken Talk Asia Interview," February2 8 , 2 0 0 7 . A v a i l a b l e h e r e(http://edition.cnn.com/2007/WORLD/asiapcf/02/27/talkasia.hirai.script/index.html?iref=allsearch)(accessed 7 September 2011). Furthermore,Japanese Singer can a lso be seen asemphasizing national identity. The CD coverfeatures him holding a red ball, which canimmediately be associated with Japan. See"Hirai Ken sannen buri no furu arubamu garirisu kettei" [Hirai Ken's new album in threeyears to be released], Cinema Today, May 10,2 0 1 1 . A v a i l a b l e h e r e(http://www.cinematoday.jp/page/N0032191)(accessed 6 September 2011). In fact the "risingsun," usually accompanied by slogans like"Nippon ganbare, Tōhoku ganbare" (Don't giveup, Japan; don't give up, Tohoku), hasfrequently appeared in the Japanese mediasince the earthquake. In the same manner, TheEconomist features an illustration by JonBerkeley which shows rescuers struggling tostop a giant red ball from rolling downhill. See"The Fallout," The Economist, March 17, 2011.A v a i l a b l e h e r e(http://www.economist.com/node/18395981)(accessed 6 September 2011). In an attempt toraise funds for quake-stricken Japan, designerbrand Kate Spade released a limited edition

tote bag. It features a "spade," a "heart" and a"rising sun."

7 The latest of the series Always: Sunset onThird Street '64 is scheduled for release inearly 2012. The story takes place in 1964, theyear of the Tokyo Olympics.

8 Examples of Generation X directors includeSasabe Kiyoshi (1958), Inudō Isshin (1960),Togashi Shin (1960), Shiota Akihiko (1961),Shinohara Tetsuo (1962), Iwai Shunji (1963),Doi Nobuhiro (1964) and Yukisada Isao (1968).Original authors from this generation includeKatayama Kyōichi (1959) who wrote Crying outLove, in the Centre of the World, IchikawaTakuji (1962) who wrote Be with You andHeavenly Forest, Murayama Yuka (1964) whowrote The Angel's Eggs, Asakura Takuya (1966)who wrote The Gift and, Tanaka Wataru (1967)and Matsuhisa Atsushi (1968) who co-wroteHeaven's Bookstore.

9 Battle Royale (2000, Fukasaku Kinji), Ju-on:The Grudge (2003, Shimizu Takashi) and DeathNote (2006, Kaneko Shusuke) are works thatblame incompetent fathers. By contrast,,Poppoya Railroad Man (1999, Furuhata Yasuo),Departures (2008, Takita Yōjirō) and TokyoSonata (2008, Kurosawa Kiyoshi) are moviesthat stress contributions by fathers.

1 0 Collage of Our Life (2003, TsutsumiYukihiko), Yomigaeri (2003, Shiota Akihiko), AHeartful of Love (2005, Shiota Akihiko) andHeavenly Forest (2006, Shinjo Takehiko) areother examples of post 1990s melodrama.

11 Cary Huang. "Bigger than Japan – nowwhat?" South China Morning Post, August 17,2010.

12 On September 7, 2010, Chinese fishing boatcaptain Zhan Qixiong was arrested by Japanafter his boat collided with two Japanese CoastGuard patrol boats. The Japanese Ambassadorto China, Niwa Uichirō, was summoned by theChinese government on several occasions in

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protest against what the Chinese side arguedwas the illegal detention of Zhan. The arrestsparked anti-Japan protests across China andanti-China protests subsequently broke out inJapan. Sino-Japanese relations hit an all-timelow. The two countries did not resumeministerial exchanges until late February 2011.

13 Following Abe Shinzō, Fukuda Yasuo, AsoTarō and Hatoyama Yukio, Kan Naoto becamethe latest Japanese prime minister to resign.Noda Yoshihiko succeeded him as Japan'sprime minister.

14 Takeuchi Yūko also played in Yomigaeri,Night of the Shooting Stars (2003, TogashiShin), Heaven's Bookstore (2004, ShinoharaTetsuo), Spring Snow (2005, Yukisada Isao),Closed Note (2007, Yukisada Isao), Flowers(2010, Koizumi) and Wife and My 1778 Stories(2011, Hoshi Mamoru). She is regarded as oneof the iyashi kei (healing type) representatives.The iyashi kei phenomenon originated fromIijima Naoko's 1995 canned coffee commercialwhich was said to be a "spiritual retreat" to theaudience. The term iyashi kei, however, firstappeared in 1999 when Sakamoto Ryuichi's EPUra BTTB was described as "iyashi ongaku"(healing music). From then on, whoever (forexample Yūka and Bae Yong-joon) or whatever(cute soft toys) is soft and carries "healing"power can be appreciated as iyashi kei.

15 Likewise in Love Letter, the young male FujiiItsuki is always showered in sunlight.

16 The original lyrics are 瞳を閉じて 記憶の中に

君を探すよ それだけでいい なくしたものを 越える強さを 君がくれたから 君がくれたから

1 7 Nagasawa Masami is another icon ofJapanese melodrama. She also features inTouch , a f i lm tha t dep ic t s a per iodcharacterized by unity and harmony. BothTouch and Rough (2006, Ōtani Kentarō), alsostarring Nagasawa, are adaptations of AdachiMitsuru's comic. Touch is a 126-episode comicseries published between 1981 and 1987. Theyoung characters are energetic and theirparents are warm-hearted. The series is asymbol of the 1980s, and the perfect picture itportrays is in sharp contrast with thedysfunctional families in Japanese filmsproduced after the 1990s.

18 Watanabe Ken is one of Hollywood's bestknown Japanese actors. Some of his worksinclude The Last Samurai (2003, EdwardZwick), Memoirs of a Geisha (2005, RobMarshall), Letters from Iwo Jima (2006, ClintEastwood) and Inception (2010, ChristopherNolan).

19 Having overcome a series of troubles andaccidents, the spacecraft finally returned toearth in June 2010. The story caught theattention of filmmakers and four films about ithave already been produced. Apart fromWatanabe's film, documentary Hayabusa Backto the Earth (2011, Kōsaka Hiromitsu),Hayabusa (2011, Tsutsumi Yukihiko) starringTakeuchi Yūko, and Okaeri, Hayabusa (2012,Motoki Katsuhide) starring Watanabe Ken'sdaughter Anne, are also inspired by the event.