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Jidaigeki ( 時代劇 ) is a genre of film, television, video game, and theatre in Japan. Literally meaning "period dramas", they are most often set during the Edo period of Japanese history, from 1603 to 1868. Some are set much earlier— Portrait of Hell , for example, is set during the late Heian period—and the early Meiji era is also a popular setting.
Jidaigeki show the lives of the samurai, farmers, craftsmen, and merchants of their time. Jidaigeki films are sometimes referred to as chambara movies, a word meaning "sword fight", though chambara is more accurately a subgenre of jidaigeki. Jidaigeki rely on an established set of dramatic conventions including the use of makeup, language, catchphrases, and plotlines.
Many jidaigeki take place in Edo, the military capital. Others show the adventures of people wandering from place to place. The long-running television series Zenigata Heiji and Abarenbō Shōgun typify the Edo jidaigeki. Mito Kōmon , the fictitious story of the travels of the historical daimyō Tokugawa Mitsukuni, and the Zatoichi movies and television series, exemplify the traveling style.
Another way to categorize jidaigeki is according to the social status of the principal characters. The title character of Abarenbō Shōgun is Tokugawa Yoshimune, the eighth Tokugawa shōgun . The head of the samurai class, Yoshimune assumes the disguise of a low-ranking hatamoto, a samurai in the service of the shogun. Similarly, Mito Kōmon is the retired vice-shogun, masquerading as a merchant.
In contrast, the coin-throwing Heiji of Zenigata Heiji is a commoner, working for the police, while Ichi (the title character of Zatoichi ), a blind masseur, is an outcast, as were many disabled people in that era. In fact, masseurs, who typically were at the bottom of the professional food chain, was one of the few vocational positions available to the blind in that era. Gokenin Zankurō is a samurai but, due to his low rank and income, he has to work extra jobs that higher-ranking samurai were unaccustomed to doing.
Whether the lead role is samurai or commoner, jidaigeki usually reach a climax in an immense sword fight just before the end. The title character of a series always wins, whether using a sword or a jutte (the device police used to trap, and sometimes to bend or break, an opponent's sword).
Sengoku-jidai (Warring States era setting) is a Japanese genre that has been used as the setting for novels, films, video games, anime and manga. It bears some parallels with the Western; Akira Kurosawa's Seven Samurai , for example, was remade in a Western setting as The Magnificent Seven .
Among the characters in jidaigeki are a parade of people with occupations unfamiliar to modern Japanese and especially to foreigners. Here are a few:
The warrior class included samurai, hereditary members in the military service of a daimyō or the shōgun, who was a samurai himself. Rōnin , samurai without masters, were also warriors, and like samurai, wore two swords, but they were without inherited employment or status. Bugeisha were men, or in some stories women, who aimed to perfect their martial arts, often by traveling throughout the country. Ninja were the secret service, specializing in stealth, the use of disguises, explosives, and concealed weapons.
Craftsmen in jidaigeki included metalworkers (often abducted to mint counterfeit coins), bucket-makers, carpenters and plasterers, and makers of woodblock prints for art or newspapers.
In addition to the owners of businesses large and small, the jidaigeki often portray the employees. The bantō was a high-ranking employee of a merchant, the tedai, a lower helper. Many merchants employed children, or kozō. Itinerant merchants included the organized medicine-sellers, vegetable-growers from outside the city, and peddlers at fairs outside temples and shrines. In contrast, the great brokers in rice, lumber and other commodities operated sprawling shops in the city.
In the highest ranks of the shogunate were the rojū. Below them were the wakadoshiyori, then the various bugyō or administrators, including the jisha bugyō (who administered temples and shrines), the kanjō bugyō (in charge of finances) and the two Edo machi bugyō. These last alternated by month as chief administrator of the city. Their role encompassed mayor, chief of police, and judge, and jury in criminal and civil matters.
The machi bugyō oversaw the police and fire departments. The police, or machikata, included the high-ranking yoriki and the dōshin below them; both were samurai. In jidaigeki, they often have full-time patrolmen, okappiki and shitappiki, who were commoners. (Historically, such people were irregulars and were called to service only when necessary.) Zenigata Heiji is an okappiki. The police lived in barracks at Hatchōbori in Edo. They manned ban'ya, the watch-houses, throughout the metropolis. The jitte was the symbol of the police, from yoriki to shitappiki.
A separate police force handled matters involving samurai. The ōmetsuke were high-ranking officials in the shogunate; the metsuke and kachi-metsuke, lower-ranking police who could detain samurai. Yet another police force investigated arson-robberies, while Shinto shrines and Buddhist temples fell under the control of another authority. The feudal nature of Japan made these matters delicate, and jurisdictional disputes are common in jidaigeki.
Edo had three fire departments. The daimyō-bikeshi were in the service of designated daimyōs; the jōbikeshi reported to the shogunate; while the machi-bikeshi, beginning under Yoshimune, were commoners under the administration of the machi-bugyō. Thus, even the fire companies have turf wars in the jidaigeki.
Each daimyō maintained a residence in Edo, where he lived during sankin-kōtai . His wife and children remained there even while he was away from Edo, and the ladies-in-waiting often feature prominently in jidaigeki. A high-ranking samurai, the Edo-garō, oversaw the affairs in the daimyō's absence. In addition to a staff of samurai, the household included ashigaru (lightly armed warrior-servants) and chūgen and yakko (servants often portrayed as flamboyant and crooked). Many daimyōs employed doctors, goten'i; their counterpart in the shogun's household was the okuishi. Count on them to provide the poisons that kill and the potions that heal.
The cast of a wandering jidaigeki encountered a similar setting in each han. There, the karō were the kuni-garō and the jōdai-garō. Tensions between them have provided plots for many stories.
There are several dramatic conventions of jidaigeki:
Authors of jidaigeki work pithy sayings into the dialog. Here are a few:
The authors of series invent their own catchphrases called kimarizerifu that the protagonist says at the same point in nearly every episode. In Mito Kōmon, in which the eponymous character disguises himself as a commoner, in the final sword fight, a sidekick invariably holds up an accessory bearing the shogunal crest and shouts, Hikae! Kono mondokoro ga me ni hairanu ka?: "Back! Can you not see this emblem?", revealing the identity of the hitherto unsuspected old man with a goatee beard. The villains then instantly surrender and beg forgiveness.
Likewise, Tōyama no Kin-san bares his tattooed shoulder and snarls, Kono sakurafubuki o miwasureta to iwasane zo!: "I won't let you say you forgot this cherry-blossom blizzard!" After sentencing the criminals, he proclaims, Kore nite ikken rakuchaku: "Case closed."
The following are Japanese video games in the jidaigeki genre.
Although jidaigeki is essentially a Japanese genre, there are also Western games that use the setting to match the same standards. Examples are Ghost of Tsushima , Shogun: Total War series or Japanese campaigns of Age of Empires III .
Names are in Western order, with the surname after the given name.
Star Wars creator George Lucas has admitted to being inspired significantly by the period works of Akira Kurosawa, and many thematic elements found in Star Wars bear the influence of Chanbara filmmaking. In an interview, Lucas has specifically cited the fact that he became acquainted with the term jidaigeki while in Japan, and it is widely assumed that he took inspiration for the term Jedi from this. [2] [3] [4]
Edo, also romanized as Jedo, Yedo or Yeddo, is the former name of Tokyo.
Samurai were the hereditary military nobility and officer caste of medieval and early-modern Japan from the late 12th century until their abolition in the 1870s during Meiji era. They were the well-paid retainers of the daimyo, the great feudal landholders. They had high prestige and special privileges such as wearing two swords and kiri-sute gomen, the right to kill anyone of a lower class in certain situations. They cultivated the bushido codes of martial virtues, indifference to pain, and unflinching loyalty, engaging in many local battles.
The Tokugawa shogunate, also known as the Edo shogunate, was the military government of Japan during the Edo period from 1603 to 1868.
In feudal Japan (1185–1868), a rōnin was a type of samurai who has no lord or master. A samurai becomes a rōnin upon the death of his master, or after the loss of his master's favor or legal privilege.
Matsunaga Danjo Hisahide was a daimyō and head of the Yamato Matsunaga clan in Japan during the Sengoku period of the 16th century.
Ishida Mitsunari was a Japanese samurai and military commander of the late Sengoku period of Japan. He is probably best remembered as the commander of the Western army in the Battle of Sekigahara following the Azuchi–Momoyama period of the 16th century. He is also known by his court title, Jibu-no-shō (治部少輔).
The Unfettered Shogun (暴れん坊将軍) was a Japanese television program on the TV Asahi network. Set in the eighteenth century, it showed fictitious events in the life of Yoshimune, the eighth Tokugawa shōgun.
Ōoka Tadasuke was a Japanese samurai in the service of the Tokugawa shogunate. During the reign of Tokugawa Yoshimune, as a magistrate of Edo, his roles included chief of police, judge and jury, and Yamada Magistrate prior to his tenure as South Magistrate of Edo. With the title Echizen no Kami, he is often known as Ōoka Echizen (大岡越前). He was highly respected as an incorruptible judge. In addition, he established the first fire brigade made up of commoners, and the Koishikawa Yojosho. Later, he advanced to the position of jisha bugyō , and subsequently became daimyō of the Nishi-Ōhira Domain.
This is the glossary of Japanese history including the major terms, titles and events the casual reader might find useful in understanding articles on the subject.
Metsuke (目付) were the censors or the inspectors of Tokugawa shogunate. They were bakufu officials ranking somewhat lower than the bugyō. The metsuke were charged with the special duty of detecting and investigating instances of maladministration, corruption or disaffection anywhere in Japan, and particularly amongst the populace having status below the daimyō.
Mito Kōmon (水戸黄門) is a Japanese jidaigeki or period drama that was on prime-time television from 1969 to 2011, making it the longest-running jidaigeki in Japanese television history. The title character is the historic Tokugawa Mitsukuni, former vice-shōgun and retired second daimyō of the Mito Domain. In the guise of Mitsuemon, a retired crepe merchant from Echigo, he roams Japan with two samurai retainers, fun-loving Sasaki Sukesaburō (Suke-san) and studious Atsumi Kakunoshin (Kaku-san). An episode typically starts with some injustice perpetrated by a corrupt official, a wealthy merchant or a gangster. The travelers arrive incognito, discover the injustice and quietly investigate it. The episode concludes with a brawl in which the unarmed, disguised protagonists defeat a crowd of samurai and gangsters, culminating in the presentation of the inrō that reveals the hero's identity. Afterwards, the hero passes judgement on the villains, sets things straight with comments and encouragement, and then continues with his journey.
Chanbara (チャンバラ), also commonly spelled "chambara", meaning "sword fighting" films, denotes the Japanese film genre called samurai cinema in English and is roughly equivalent to Western and swashbuckler films. Chanbara is a sub-category of jidaigeki, which equates to period drama. Jidaigeki may refer to a story set in a historical period, though not necessarily dealing with a samurai character or depicting swordplay.
Sanbiki ga Kiru! (三匹が斬る!) or Three for the Kill! is a group of seven television jidaigeki series broadcast by TV Asahi in Japan. The show aired in the Thursday evening eight o'clock time slot.
Many significant Japanese historical people of the Sengoku period appear in works of popular culture such as anime, manga, and video games. This article presents information on references to several historical people in such works.
Isao Yamagata was a Japanese film actor. In 1942, Yamagata and So Yamamura formed the Bunkaza Theatre Company. In 1949 he made his film debut with Kirareya Senta. Yamagata became famous for his role in 1953 film Gate of Hell. He became a character actor and often played villainous roles. In 1973, Yamagata landed main role on the TV jidaigeki Kenkaku Shōbai.
Edo society refers to the society of Japan under the rule of the Tokugawa Shogunate during the Edo period from 1603 to 1868.
The Edo period of the history of Japan is the setting of many works of popular culture. These include novels, stage plays, films, television shows, animated works, manga, and video games. Major events of the period, such as the Siege of Osaka, Shimabara Rebellion, and the decline and fall of the Tokugawa shogunate figure prominently in many works. Historical and fictional people and groups of the period, including Miyamoto Musashi, Izumo no Okuni, Yagyū Jūbei Mitsuyoshi, the fictional Isshin Tasuke, Yui Shōsetsu, Matsuo Bashō, Tokugawa Mitsukuni, Ōoka Tadasuke, Tōyama Kagemoto, the Forty-seven Ronin, Sakamoto Ryōma, Katsu Kaishū, and the Shinsengumi, as well as the fifteen Tokugawa shoguns were active for much or all of their public lives and are dramatized in works of popular culture. The cultural developments of the times, including kabuki, bunraku, and ukiyo-e, and practices like sankin kōtai and Masashi Kishimoto pilgrimages to the Ise Shrine, feature in many works set in Edo Japan.
Kantarō Suga was a leading Japanese actor. His film credits span three decades, from 1960 to 1990. One of his prominent appearances was in the lead role in Pastoral: To Die in the Country. Suga also appeared in The Gate of Youth, Sword of the Beast, and Theater of Life. He also portrays Souichiro Akizuki- the father of Nobuhiko, Kyoko and also the foster father of the protagonist Kotaro Minami in the tokusatsu series Kamen Rider Black.
Ken Nishida is a Japanese actor and voice actor. He is noted for his roles in Return of Ultraman, Eyeful Daisakusen, Uchuu Keiji Gavan, Ninpuu Sentai Hurricaneger, G-Men '75, and Shin Kyoto Meikyū Annai. His guest roles have included multiple episodes of Key Hunter, Mito Kōmon, Taiyō ni Hoero!, Zenigata Heiji, and Abarenbō Shōgun. He is also a regular guest star in the two-hour prime-time special drama format, with 35 appearances on the Tuesday Kayō Suspense Gekijō and 25 on the Saturday Doyō Wide Gekijō. A veteran jidaigeki actor, Nishida portrayed the recurring villain Mugensai who masterminded the plot to assassinate the shogun in the series Shogun Iemitsu Shinobi Tabi Part II. He appeared as Asano Daigaku, younger brother of the daimyō whose forced seppuku triggered the events of the Forty-seven rōnin, in The Fall of Ako Castle. A modern role was in the 1986 Kei Kumai film adaptation Umi to Doku of the Shūsaku Endō novel of the same name. Three films in the Gokudō no Onna-tachi series of gangster films are also to his credit. In anime, Ken provided the Japanese voice of Kazundo Gouda in Ghost in the Shell: S.A.C. 2nd GIG.
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