Tradition and Modernity: The Father Figure in Yamada Yōji’s Tokyo Family and Shifting Masculinities in Contemporary Japan

Absztrakt

This study examines how Yamada Yōji constructs the father figure in the film Tokyo Family (Tōkyō Kazoku 東京家族, 2013), situating it within the context of contemporary Japan and government policies regarding fatherhood and men’s roles within the family. The analysis engages with two primary perspectives: (1) Yamada’s portrayal of the father character, encompassing both his self-perception and how he is viewed by his family; and (2) Yamada’s broader depiction of the character in relation to other male figures in the film, alongside its resonance with the socio-cultural realities of modern Japanese society.
The analysis reveals that the father, Shūkichi, is portrayed as an ageing man reflecting on his relationship with his children and his place within a transforming family structure. Initially presented as a traditional patriarch, Shūkichi gradually contends with evolving notions of masculinity. Ultimately, he comes to recognise and accept the modern male identity embodied by his youngest son, Shōji, reaching a form of reconciliation that is mediated indirectly through his wife, Tomiko, and Shōji’s partner, Noriko.
Film critics and scholars frequently note that Yamada Yōji’s Tokyo Family distinguishes itself from his mentor Ozu Yasujirō’s Tokyo Story (Tōkyō Monogatari 東京物語, 1953) primarily through its contemporary Japanese setting and the character of Noriko. Yamada also incorporates references to the aftermath of the 2011 earthquake and weaves in brief episodes inspired by traditional Japanese theatre. However, this study argues that the more significant differences lie in the development of Shūkichi’s character, especially in contrast to the film’s other male figures–Kōichi, Kurazō and Shōji. Viewed through the lens of Japan’s evolving male identities, these characters represent distinct stages along a timeline of shifting masculinities, progressing from the traditional archetype embodied by Shūkichi to the more contemporary model represented by Shōji. Although this framework does not encompass the full spectrum of male identity in contemporary Japanese society, it nevertheless reflects Yamada’s intention to align with that shift, deploying his characteristic narrative style–deeply resonant and emotionally attuned to his audience.