History 399 Samurai in Film

Course Description

Japan’s warriors, the samurai, represent one of the distinct elements of pre-20th Japanese society, culture, and government. They are still with us as a "ready-reference" in a number of contexts: anime samurai from outer space; samurai businessman; "kamikaze taxi-drivers;" samurai spirit that infuses the martial arts; practitioners of the samurai ethos of bushido (self-immolation, death before dishonor, self-sacrifice etc); the "banzai chargers" of World War II.

But the phenomenon of the samurai was far more nuanced. Most strikingly, while a specific warrior class can be identified from at least the 900s and continuing through the late 1800s – that is, for a period of about 1000 years – for the vast bulk of this time Japan was at peace, and warriors only rarely died while fighting. Equally striking, as we note a shift in the political prominence of the warrior class (from prominent in rural areas in the 900s to monopolizing national government from the 1600s), we also note a shift in the social composition of the "warriors" over time, from rural land-managers and administrators, to members of a "warrior government" in the 1180s, to major cultural patrons from the 1300s, from hereditary families through the 1400s to being drawn from any social background by the late 1500s, to hereditary bureaucrats from the 1600s. And at all times we have some who were wandering swords for hire, the ronin (a term that can now be applied to Japanese male students who have initially failed college entrance exams, or to Robert de Niro starring as a gun for hire in France).

Samurai as they are recalled in film reflect not just the "historical samurai," but the choice of samurai type to highlight in films has also been variously influenced by concerns, social criticisms, valorizations, and the formation of historical memory. That is, when we see samurai, we sometimes see something of the shifting cultural and political currents of modern Japan (as well as entertainment!).

Thus, this fun course will present different opportunities for learning about the samurai. As "they were," as "we think about some of them," as "how we find period dramas useful for raising contemporary issues."

One last comment: one thing we probably will not find is a glorification of war. And this, while being heavily influenced by the horrible experience of World War 2 perhaps, is perhaps a key point to remember about the historical samurai class – their task was to keep the peace in a society that they knew exploded violently when destabilized.

Course Policies

The course will combine lectures and handouts, with assigned readings, in order to provide context and background for the films. In general, and depending upon the length of the films, each class will include both lecture and film.

Evaluation

Attendance is required (10% of course grade).

Two film reports, each of 4-5 pages (double spaced), each counting for 15% of course grade. One report must deal with a film in the WARRIOR AND COMMONER or BATTLE categories, and the other report must deal with a film in the LOYALTY AND RONIN category. The first report is due no later than May 13. The second report is due no later than June 7.

A five-page review/discussion of the book Feudalism in Japan (20% of course grade).

A final exam (Wednesday June 12, at 7pm, in the regular classroom). The exam counts for 40% of course grade, and will be a combination of short essay and factual questions, based on both the films and the readings. An exam study guide will be distributed by May 29.

Required Texts

Peter Duus, Feudalism in Japan.
Katsu Koichi, Musui’s Story.
Stephen Turnbull, Samurai Warfare.
Hiroaki Sato, Legends of the Samurai.

It is expected that students will read and re-read the assigned texts, in addition to ensuring that they cover the designated sections for each week.

Course Schedule