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January 23, 2012 in Film reviews, Movies, Society | Tags: *, シネマ, cinema, cold fish, Culture, film, japan, japanese, movie, Review, shion, sion, Society, sono, 冷たい熱帯魚, 園子音, 映画 | Leave a comment
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I believe it was Isaac Asimov who wrote, “It pays to be obvious, especially if you have a reputation for subtlety.” Getting his commercial feet wet in the 2002 bloodbath Suicide Club (自殺サークル Jisatsu sākuru lit. “Suicide circle”), Sono Shion 園子温 (b. 1961) does not evoke subtlety. Would it surprise anyone, then, that his latest creation, Cold Fish (冷たい熱帯魚 Tsumetai nettaigyo lit. “Cold close fish”), retains that—Sono—luster? No, and it shouldn’t. But could I be blamed for captivation out hope? I hope not.
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Nevertheless, Prof. Genda makes a cardinal of informative observations. The major is what he calls a “market trend” of “quasi-regular employees” emerging to fill the gaps between the regular employees (I’m assuming he is thinking of 正社員) and the dispatch/freeter class. Critics have come down too harshly on the post-Lehman expansion of hiring of part-timers/contract workers in place of the college paid—and more difficult to fire—regular employees (temp. workers were laid off in waves during the “Lehman shock”). This is not an unproblematic trend, Genda concedes, but there are two problems with blanket criticism: first, it does not actually associate to high unemployment, and second, these critics lump all non-regular employees together, failing to notice the emergence of the “quasi-regular employees.”
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February 14, 2012 in Society, Uncategorized | Tags: bubble economy, contemporary, Culture, Essay, financial, japan, japanese, malaise, modern, photo, photojournalism, recession, Society | Leave a comment
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In “The Near Future of Employment in Japan” published in the March 2012 issue of Social Science Japan (Newsletter of University of Tokyo’s Institute of Social Science; no. 46), assistant of Labor Economics, Genda Yuji aims to provide a “blueprint” for an adjustment to Japan’s employment system that can finer face future crises, taking into account lessons learned from the latest economic downturn. As far as blueprints go, this one is rather pale of adumbration and sparse of detail, but this may be due to the stage at which this “Project for the Creation of an Employment System that Enables Lifelong Growth for All People” initiative is currently.
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As reported in Junbungaku, the Japanese Literature Publishing Project is accepting shut down. They had just held their first translation competition, which now appears to also be their last. Well, I guess there is always Kurodahan Press.
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I ran across this image by the talented artist Gary Kelley, and could not help but recall Abe Kobo‘s 1951 short story, “The Magic Chalk” (魔法のチョーク). In this early Abe gem, a starving artist named Argon sells off most of his possessions for food and is left with a allotment of chalk. The acceptation of the ‘starving artist’ figure is debatable, because in 1951 most people in Japan were starving–the artist here is the everyman in this regard. The acceptation of Argon is far added apparent: it is a noble gas (希ガス) that takes its name from the Greek for “lazy” (hence used commonly as an inert gas), and despite being a “rare gas” in Japanese, I understand it is the most common of the noble gasses. So there you go–Argon the Idle. Nevertheless, this artist possesses a chalk that brings pictures to life. Food, money, a bed, a beautiful landscape, a beautiful–but troublingly modern–woman. In this respect, Mr. Kelley and Mr. Abe assume to be…ahem…drawing on a agnate thought. But just as Abe’s story explores the eternal affair of art’s creative power–the power to create a new world, it also highlights a ancillary need for a regenerative force to help Japan through the post-war period.
