What role does representation have in communicating the messages and values of ‘Bushi no Ichibun’?

The representation of Kayo as one of the only two female characters in the film reinforces the value director Yamada places on women and their role in the home.

If we look closely at the opening sequence of the film, Kayo is represented as the doting wife whose true happiness is being part of a marriage and a household. Director/screenwriter Yamada and cinematographer Naganuma have framed and lit this opening sequence in a way which supports this message of happiness in being able to care for husband and home. A mid-shot is used to introduce Kayo and Mimura. Mimura dominates the screen , establishing the husband as the central figure. Kayo can be seen behind him busy with an activity – a smaller figure. A straight cut reverses the shot so that the viewer can see that Kayo is folding clothes and she is smiling as she does so – truly content in her wifely duties. The mise-en-scene has Kayo surrounded by household objects and the colour of her kimono matches the beams and panelling of the house – this implies that she is a part of the house/home. In addition to this, the screen she is sat next to is closed over whilst the screen near her husband is open – this could be representative of their different roles in society (e.g. his is to be part of the outside world/society and hers is to be part of the home).

We could also look to the representation of Hatano-san and how she provides a stark contrast of a woman/wife in comparison to Kayo. Yamada creates a negative female stereotype with Hatano-san which reinforces the message that Kayo is the more ‘ideal’ wife. The woman cast as Hatano is older and her make-up creates harsh lines on her face (her lips and her blush). She wears gaudy coloured clothes – this makes her stand out from the Mimura house when she enters. Yamada also uses sounds to highlight Hatano as an unnatural and unwelcome element in the Mimura household. Her voice pervades the scene – she is heard before she is seen (a shrewd editing choice) and the actress cast has a nasal and whiney tone to her voice. Kayo is Hatano’s opposite in most ways – as mentioned previously, her costume matches the colour of the home and her make up is soft and warm. Her voice is never raised and has a gentle tone. These choices make it apparent that Yamada is celebrating Kayo as the more positive role-model of a wife. The negative representation of Hatano would suggest that Yamada is communicating to the audience what women should avoid becoming.

Another value which is presented in the film is the importance of a man’s pride/honour. This is communicated through the representation of Mimura and Shimada as ‘hero’ and ‘villain’.

Mimura could be said to fit with Propp’s definition of a ‘hero’. We follow this character through his ‘quest’ to regain his pride after his loss of sight and Kayo’s/Shimada’s deceit. As is typical, we (the audience) side with Mimura and want him to succeed. Yamada seems to suggest that pride/honour is something which must be earned and he demonstrates this best with the dojo and showdown scenes. Lighting in the dojo scene is used to represent Mimura’s honour/pride as a man. At the beginning of the sequence, a long shot shows a shaft of sunlight streaming through the window and onto Mimura’s practice sword – the rest of the location is dimly lit. This could represent Mimura’s pride – there is just a hint, a glimmer. As the scene progresses, more natural light floods the scene as Mimura’s fighting spirit begins to be rekindled. The use of diegetic sound supports this further as the scene progresses from the low-level mumblings of Mimura to cries of battle as the sequence ends.