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14 Erving Goffman, The Presentation of Self in Everyday Life, Gaden City: Doubleday, 1959.
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23 Takie Sugiyama Lebra, “Self and Other in Esteemed Status: The Changing Culture of the Japanese Royalty from Showa to Heisei”, Journal of Japanese Studies 23(2), 1997.
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Emperor, Freedom, and Order
Princess Masako’s Ordeal and the Crisis of Japanese Imperial House: Gender
and the Emperor System in Postwar Japan | KWEON Sug In
Taking Princess Masako’s prolonged ‘ordeal’ as a vantage point, this article explores the gender
issues involved in the postwar emperor system of Japan. Even though many Japanese wanted
to see the marriage of Masako and Crown Prince Naruhito as signaling “the beginning of a
new era for the imperial house,” Masako’s first and foremost duty was giving birth to a baby-
son who will succeed the imperial throne. And Masako’s difficulties of and eventual failure
in fulfilling this duty lie at the core of her post-nuptial hardship. This ‘hardcore’ logic of a
patrilineal dynasty defies all the social changes, and it is not simply the ultimate cause of
Masako’s suffering but also the causes of current ‘crisis’ of the imperial house and emperor
system. Additionally, fundamental vulnerabilities of the ‘symbolic’ emperor system which
functions as a sort of ‘theater state’ as well as the conservative group’s adamant ‘belief ’ in the
“emperor’s unbroken descent line for ages eternal” also challenge the emperor system, bringing
about discords and conflicts in various realms of Japanese society. In this regard, Princess
Masako’s suffering is merely a symptom of the crisis that surrounds the imperial household,
and reflecting on her ‘ordeal’ leads to the question of how the Japanese emperor system is to
survive in the future.
• Keywords: symbolic emperor system, women and the dynasty, Princess Masako, female
emperor, female descent emperor, theater state, institutional body, natural body, Gender-
equal Society
The Representation of Japanese Emperors in Fictional Films | KANG Tae Woong
This article aims to investigate how Japanese emperor has been depicted in Japanese fictional
films. In prewar Japan, no movie existed in which ‘a mere actor’ played the role of the emperor.
It was after 1945 that this trend began to change. Yet film-makers in Japan could only produce
those movies under certain restrictions. The production of film was only permitted when it
presented the emperor as a sublime figure. The focus of this article is to investigate the formula
as well as the convention of the films.
The very first trilogy in which Meiji emperor was the protagonist was made in the 1950s.
Abstract
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