Tanaka and Mizoguchi: Politics and Rebellion in the Early Post-war Era

Smith’s chapter uses My Love Has Been Burning (Waga koi wa moenu, Mizoguchi Kenji, 1949) as a case-study for an analysis of Tanaka’s embodiment of feminine subjectivity. Grounded by an examination of the postwar gender reforms and their application, he argues that Tanaka and Mizoguchi’s creative partnership is complex to define politically, often expressing conflicting ideas on gender equality which in turn reflected the moral, social and practical paradigms which underpinned gender politics in Japan. Although produced in the postwar period, the film’s plot is set in the Meiji era and the chapter bridges these crucial periods in the history of Japanese women, using Tanaka’s star image to illuminate ideological connotations within both settings. The close reading of Tanaka’s feminist character in the film complicates the critical conception of her star persona as being tied to the Japanese stereotype of yamato nadeshiko - a type of conservative, restrained, traditional femininity.