I. Different ends of Japan’s postwar era The death of emperor Hirohito in 1989 is often considered as the end of Japan’s postwar era. Because the emperor is the symbol of the nation during wartime and the immediate postwar period. His death marked the fading of the elder generation. Moreover, other facts in the late 1980s and early 1990s could also be counted as the end of postwar. The shrinking support of the LDP since the early 1970s finally led to its lost of majority in HOC election in 1993. (Allinson, p. 185) The economic booms arose in the late 1980s, featuring rising land prices and speculative stock market. This economic bubbles would soon went up in the early 1990s. (Allinson, p. 197) Japan’s automobile and electronic industries
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The living standards of urban family were slowly improved, as the old couple was able to travel and meet their children. People were mostly engaged in their own business, as was depicted in the film that the old couples were not warmly welcomed by their children. Moreover, the widowed daughter-in-law, Noriko, represented the war widows in the immediate postwar era. As her husband passed away, Noriko’s life was quite empty. Probably having no family members from her parents’ home to rely on, she could only relieve her loneliness by taking care of her parents-in-law. That’s probably why she considered herself as “selfish”. Moreover, the family relationships shown in this film still preserved strong Japanese features. For example, the family greeted each other in very polite manners inherited from the traditional …show more content…
Manufacturing and construction jobs made up a significant portion of the total employment. (Allinson, p. 111) Sakura’s husband was representative of skilled factory workers. Moreover, in the film, Sakura was able to gain an education and have her own career, marking the rising of women’s status in the society. However, the male relatives still played important roles in the lives of women. For example, Tora-san was expected to attend the Omiai meeting of his sister. Moreover, the detachment between generations and different social classes was obvious. For instance, parents were still the authorities of the family, as the Sakura’s parents-in-law were very unhappy at first that their son had dropped out of school and become a blue-collar
The living standards of urban family were slowly improved, as the old couple was able to travel and meet their children. People were mostly engaged in their own business, as was depicted in the film that the old couples were not warmly welcomed by their children. Moreover, the widowed daughter-in-law, Noriko, represented the war widows in the immediate postwar era. As her husband passed away, Noriko’s life was quite empty. Probably having no family members from her parents’ home to rely on, she could only relieve her loneliness by taking care of her parents-in-law. That’s probably why she considered herself as “selfish”. Moreover, the family relationships shown in this film still preserved strong Japanese features. For example, the family greeted each other in very polite manners inherited from the traditional …show more content…
Manufacturing and construction jobs made up a significant portion of the total employment. (Allinson, p. 111) Sakura’s husband was representative of skilled factory workers. Moreover, in the film, Sakura was able to gain an education and have her own career, marking the rising of women’s status in the society. However, the male relatives still played important roles in the lives of women. For example, Tora-san was expected to attend the Omiai meeting of his sister. Moreover, the detachment between generations and different social classes was obvious. For instance, parents were still the authorities of the family, as the Sakura’s parents-in-law were very unhappy at first that their son had dropped out of school and become a blue-collar