Prologue: Women and the Reality of the Everyday
Stuart Hall, ‘‘The Meaning of New Times,’’ in Stuart Hall: Critical Dia-
logues in Cultural Studies, ed. David Morley and Kuan-Hsing Chen (Lon-
don: Routledge, 1996), p. 226.
Ozu demonstrates that the stereotype of a single type of traditional woman
can no longer apply. A similar reference to multidimensional women can
be found in Tanizaki Junichirō’s Sasameyuki (The Makioka Sisters, 1943–
47), a novel set in the 1930s about the compelling dispositions of four sis-
ters. Yukiko, the ‘‘traditional’’ sister, shows a passion for French movies,
while Taiko, portrayed as a rebel, takes up the profession of Japanese doll
Ozu Yasujirō sakuhinshū, vol. 4 (Tokyo: Rippū shobō, 1984), pp. 109–10.
For a discussion of the similarities between Ozu’s Tokyo Story and Leo
McCarey’s Make Way for Tomorrow, see Arthur Nolletti Jr., ‘‘Ozu’s Tokyo
Story and the ‘Recasting’ of McCarey’s Make Way for Tomorrow,’’ in Ozu’s
Tokyo Story, ed. David Desser (Cambridge: Cambridge University Press,
1997), pp. 25–34.
Tokyo Story is reminiscent of Lidia Curti’s argument that ‘‘fact and ﬁc-
tion are different but both crucial aspects of the same reality.’’ Lidia Curti,
‘‘What Is Real and What Is Not: Female Fabulations in Cultural Analysis,’’
in Cultural Studies, ed. Lawrence Grossberg, Cary Nelson, and Paul Treich-
ler (New York: Routledge, 1992), p. 142.
Ishigaki Ayako’s Onna wa jiyū de aru (Tokyo: Bungei shunjū, 1955) was one
of many guides advising women about life in a democratic society.
Inoue Kiyoshi, Nihon joseishi (Tokyo: San’ichi shobō, 1948).
Tanaka Sumiko, Josei kaihō no shisō to kōdō—senzen-hen (Tokyo: Jiji tsūshin,
1975); Ide Fumiko, Hiratsuka Raichō—kindai to shinpi (Tokyo: Shinchōsha,
1987); Horiba Kiyoko, Seitō no jidai—Hiratsuka Raichō to atarashii onnatachi
(Tokyo: Iwanami shoten, 1988).
Maruyama Masao, Nihon no shisō (Tokyo: Iwanami shoten, 1961); Maru-