Research On The Creative Characteristics And Cultural Connotation Of Japanese "3·11 Films"

Looking back at the first two decades of the 21 st century,it can be said that crisis and hope coexist for Japan,especially the occurrence of the East Japan earthquake on March 11,2011.The economic losses and casualties caused by the earthquake disaster have caused a huge impact on the entire Japanese society,and people’s spiritual order is facing collapse,and their ideas are beginning to undergo subtle changes.After experiencing the pain of the original explosion and the unprecedented earthquake,what concepts will Japanese movies use to record disasters,in what ways will they propose reflections on the future and destiny of the country,and in what attitudes will they observe the survival situation of ordinary people and the social problems left behind after the disaster? These have become issues that Japanese films must face up to after the East Japan earthquake.In the past decade,directors in the Japanese film industry have responded to the above questions with practical actions,creating a large number of "3·11 films".These films focus on the Great Earthquake in East Japan,using video images to depict major ethnic disasters,complete the recording,display,and archiving of disaster trauma,and form a unique cultural memory.This article takes the Japanese "3·11 films" as the research object,mainly exploring the creative characteristics of the Japanese "3 · 11 films" from the perspectives of character shaping,theme presentation,image style,and spatial narrative;Explore the cultural connotations contained in Japan’s "3·11 films" and understand the texture of Japanese culture;Analyze the reasons for the success and shortcomings of Japan’s "3·11 films" and propose practical suggestions for the development of domestic disaster films.This article mainly discusses from the following four chapters.In the first chapter,the author defined the concept of Japan’s "3·11 films";Then a brief historical review was conducted on the emergence and development of the Japanese "3·11 films".In the second chapter,the author mainly analyzes the creative characteristics of the Japanese "3·11 films".In terms of the characterization,there are both decadent people who have lost their will to life,saviors who represent mainstream ideology,and even dementia people whose memories have gradually disappeared in these movies.The diverse character images vividly demonstrate the real situation of how ordinary people face disasters after the East Japan Earthquake;In terms of theme presentation,the Japanese "3·11 films" embodies the profound reflection possessed by these films through the presentation of three major themes: expressing the pain of disaster directly,reflecting on the "original sin" of disaster,and healing spiritual trauma;In terms of the performance of the image style,the Japanese "3·11 films" is also filled with poetic aesthetic characteristics by virtue of its gentle and natural daily expression and the true writing of documentary images;In the spatial narrative of the movie,the ruins space,refugee resettlement space,urban space,and hometown space in the Japanese "3·11films" play a role in symbolism and metaphor,respectively,depicting the physical and mental situation of the affected people and the realistic social landscape.In the third chapter,the author explores the cultural connotations contained in Japan’s "3·11 films" through selected texts.These films continue to grow in the cultural genes of traditional Japanese disaster films,reflecting the strong sense of apocalyptic anxiety and crisis in Japan,reflecting the trauma caused by the nuclear leak to the Japanese,and criticizing the decadent and incompetent government and hypocritical and selfish politicians,The Japanese people in the film have a sense of gratitude,ecological concepts,and the concept of life and death,which is sufficient to illustrate their strong feelings towards Shinto.In the fourth chapter,the author first explores the reasons why Japan’s "3·11films" has gained recognition from the industry and audience;Secondly,it dialectically treats the defects in the creation of the Japanese "3·11 films";Finally,through the above analysis and conclusions,the problems faced by domestic disaster movies are analyzed,and practical suggestions are proposed for the creation and development of domestic disaster movies.In summary,this article takes the Japanese "3·11 films" as the research object,and uses methods such as literature research and comparative research to analyze and study the creative characteristics and cultural connotations of the Japanese "3·11 films".This provides reference value for the domestic academic community to study the Japanese "3·11 films" and provides valuable experience for the localization and practical creation of domestic disaster movies.