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Historical Title: Jidaigeki Jidaigeki (78;É95;Ó27;) is a genre of film, television, and theatre in Japan. The name means "period drama," and the period is usually the Edo period of Japanese history, from 1603 to 1868. Some, however, are set much earlier — Portrait of Hell, for example, is set during the late Heian period — and the early Meiji era is also a popular setting. Jidaigeki show the lives of the samurai, farmers, craftsmen, and merchants of this time. Jidaigeki films are sometimes referred to as chambara movies, a word meaning "sword fight", though chambara is really a sub group. They have a set of dramatic conventions including the use of makeup, language, catchphrases, and plotlines. Types of jidaigeki Many jidaigeki take place in Edo, the military capital. Others show the adventures of people wandering from place to place. The long-running television series Zenigata Heiji and Abarenbo Shogun typify the Edo jidaigeki. Mito KMmon, the fictitious story of the travels of the historical daimyo Tokugawa Mitsukuni, and the Zatoichi movies and television series, exemplify the travelling style. Another way to categorize jidaigeki is according to the social status of the principal characters. The title character of AbarenbM Shogun is Tokugawa Yoshimune, the eighth Tokugawa shogun. The head of the samurai class, Yoshimune assumes the disguise of a low- ranking hatamoto, a samurai in the service of the shogun. Similarly, Mito KMmon is the retired vice-shogun, masquerading as a merchant. In contrast, the coin-throwing Heiji of Zenigata Heiji is a commoner, working for the police, while Ichi (the title character of Zatoichi), a masseur, is an outcast. Gokenin ZankurM is a samurai, but due to his low rank and income, he has to work extra jobs that higher-ranking samurai were unaccustomed to do. Whether the lead role is samurai or commoner, jidaigeki usually reach a climax in an immense sword fight just before the end. The title character of a series always wins, whether using a sword or a jitte (the device police used to trap, and sometimes to bend or break, an opponent's sword). Roles in jidaigeki Among the characters in jidaigeki are a parade of people with occupations unfamiliar to modern Japanese, and especially to foreigners. Here are a few. Warriors The warrior class included samurai, hereditary members in the military service of a daimyo or the shogun (themselves samurai). Ronin, samurai without masters, were also warriors, and like samurai, wore two swords; they were, however, without inherited employment or status. Bugeisha were men, or in some stories women, who aimed to perfect their martial arts, often by travelling throughout the country. Ninja were the secret service, specializing in stealth, the use of disguises, explosives, and concealed weapons. Craftsmen Craftsmen in jidaigeki included metalworkers (often abducted to mint counterfeit coins), bucket-makers, carpenters and plasterers, and makers of woodblock prints for art or newspapers. Merchants In addition to the owners of businesses large and small, the jidaigeki often portray the employees. The bantM was a high-ranking employee of a merchant, the tedai, a lower helper. Many merchants employed children, or kozM. Itinerant merchants included the organized medicine-sellers, vegetable-growers from outside the city, and peddlers at fairs outside temples and shrines. In contrast, the great brokers in rice, lumber and other commodities operated sprawling shops in the city. Governments In the highest ranks of the shogunate were the rojk. Below them were the wakadoshiyori, then the various bugyM or administrators, including the jisha bugyM (who administered temples and shrines), the kanjM bugyM (in charge of finances) and the two Edo machi bugyM. These last alternated by month as chief administrator of the city. Their role encompassed mayor, chief of police, and judge, and jury in criminal and civil matters. The machi bugyM oversaw the police and fire departments. The police, or machikata, included the high-ranking yoriki and the dMshin below them; both were samurai. In jidaigeki, they often have full-time patrolmen, okappiki and shitappiki, who were commoners. (Historically, these people were irregulars, called to service only when necessary.) Zenigata Heiji is an okappiki. The police lived in barracks at HatchMbori in Edo. They manned ban'ya, the watch- houses, throughout the metropolis. The jitte was the symbol of the police, from yoriki to shitappiki. A separate police force handled matters involving samurai. The Mmetsuke were high-ranking officials in the shogunate; the metsuke and kachi-metsuke, lower-ranking police who could detain samurai. Yet another police force investigated arson-robberies, while Shinto shrines and Buddhist temples fell under the control of another authority. The feudal nature of Japan made these matters delicate, and jurisdictional disputes are common in jidaigeki. Edo had three fire departments. The daimyo-bikeshi were in the service of designated daimyo; the jMbikeshi reported to the shogunate; while the machi-bikeshi, beginning under Yoshimune, were commoners under the administration of the machibugyM. Thus, even the fire companies have turf wars in the jidaigeki. Each daimyo maintained a residence in Edo, where he lived during sankin kotai. His wife and children remained there even while he was away from Edo, and the ladies-in-waiting often feature prominently in jidaigeki. A high-ranking samurai, the Edo-garM, oversaw the affairs in the daimyo's absence. In addition to a staff of samurai, the household included ashigaru (lightly armed warrior-servants) and chkgen and yakko (servants often portrayed as flamboyant and crooked). Many daimyo employed doctors, goten'i; their counterpart in the shogun's household was the okuishi. Count on them to provide the poisons that kill and the potions that heal. The cast of a wandering jidaigeki encountered a similar setting in each han. There, the karM were the kuni-garM and the jMdai-garM. Tensions between them have provided plots for many stories. What would a jidaigeki be without characters to give the flavor of the times? Jugglers, pedlars, fortune-tellers, candy-sellers, rag-pickers, blind moneylenders, itinerant singer/shamisen- players, effete courtiers from the imperial capital at Kyoto, the Dutch kapitan from Nagasaki, streetwalkers and prostitutes from the licensed and unlicensed quarters, the million-dollar kabuki actor, flute-playing mendicant Buddhist priests wearing deep wicker hats, and of course geisha, provide a never-ending pageant of old Japan. Conventions There are several dramatic conventions of jidaigeki: The heroes often wear eye makeup, and the villains often have disarranged hair. A contrived form of old-fashioned Japanese speech, using modern pronunciation and grammar with a high degree of formality and frequent archaisms. In long-running TV series, like Mito KMmon and Zenigata Heiji, the lead and supporting actors sometimes change. This is done without any rationale for the change of appearance. The new actor simply appears in the place of the old one and the stories continue. In a sword fight, when a large number of villains attacks the main character, they seldom act simultaneously. Instead, the villains wait their turn to be dispatched, often standing motionless until their turn to be easily defeated arrives. On television, even fatal sword cuts draw little blood, and often do not even cut through clothing. Villains are chopped down with deadly, yet completely invisible, sword blows. Despite this, blood or wounding may be shown for arrow wounds or knife cuts. On film, most often the violence is considerably stylized, sometimes to such a degree that sword cuts cause geysers of blood from wounds. Dismemberment and decapitation are also common. Cliches and catchphrases Authors of jidaigeki work cliches into the dialog. Here are a few: Tonde hi ni iru natsu no mushi: Like bugs that fly into the fire in the summer [, they will come to their destruction] Shishi shinchk no mushi: A wolf in sheep's clothing (literally, a parasite in the lion's body) Kaji to kenka wa Edo no hana: Fires and brawls are the flower of Edo Ledo happyaku yachM: "The eight hundred neighborhoods of Edo" Tabi wa michizure: "Travel is who you take with you" In addition, the authors of series invent their own cliches in the kimarizerifu (catchphrases) that the protagonist says at the same point in nearly every episode. In Mito KMmon, in which the eponymous character disguises himself as a commoner, in the final swordfight, a sidekick invariably holds up an accessory bearing the shogunal crest and shouts, Hikae! Kono mondokoro ga me ni hairan ka?: "Back! Can you not see this emblem?", revealing the identity of the hitherto unsuspected old man with a goatee beard. The villains then instantly surrender and beg forgiveness. Likewise, TMyama no Kin-san bares his tattooed shoulder and snarls, Kono sakura fubuki o miwasureta to iwasane zo!: "I won't let you say you forgot this cherry-blossom blizzard!" After sentencing the criminals, he proclaims, Kore ni te ikken rakuchaku: "Case closed." The kimarizerifu betrays the close connection between the jidaigeki and the comic-book superhero. Post Comment Private Reply Ignore Thread Top • Page Up • Full Thread • Page Down • Bottom/Latest Begin Trace Mode for Comment # 2.
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LOL! Maybe it was too much to hope for an educated film audience on this site? Any of you folks ever even heard of Akira Kurosawa? I mean he was no David Cameron ... /S Maybe most libTURDS here, (and elsewhere), can't really deal with anything more than the dreck Hollyweird shits out every day? Pitiful.
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